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Animism: reimagining urban nature through a conceptual plant shop

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Content ANIMISM: REIMAGINING URBAN FUTURE THROUGH A CONCEPTUAL PLANT SHOP
by
Xiaoyuan Bao
A Thesis Presented to the
FACULTY OF THE USC ROSKI SCHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)
December 2024

ii
Acknowledgements
I extend my deepest gratitude to my committee members - Professor Jean Robison,
Professor China Adams, and Professor Osvaldo Trujillo - whose insights and mentorship have
profoundly shaped this project. Special thanks to Laurie Burruss, my thesis course advisor, for
helping transform scattered ideas into a coherent narrative.
I am grateful to myself for persevering through countless sleepless nights, to my
boyfriend for his unwavering support, and to my mischievous cat Dubao, whose screen-nibbling
adventures kept me grounded throughout this journey, even if it meant multiple laptop repairs.
This thesis has been as surprising and evolutionary as the plants it imagines - filled with
unexpected mutations, necessary adaptations, and growth.

iii
Table of Contents
Acknowledgements......................................................................................................................... ii
List of Figures................................................................................................................................. v
Abstract.......................................................................................................................................... ix
Chapter 1: Introduction................................................................................................................... 1
1.1 Problem Definition................................................................................................................ 1
1.2 Research Objectives and Significance .................................................................................. 2
1.3 Scope and Limitations........................................................................................................... 3
1.4 Structure of the Thesis.......................................................................................................... 4
Chapter 2: Background and Literature Review .............................................................................. 6
2.1 Cultural and Historical Perspectives on Urbanization.......................................................... 6
2.2 Urbanization and Its Consequences.................................................................................... 11
2.3 Inspiration and Influences for Project................................................................................. 15
3.1 Narrative and Conceptual Framework................................................................................ 28
3.2 Visual Design Process......................................................................................................... 32
3.2.1 Influences and Visual Language Development ........................................................... 33
3.2.2 Space Planning Evolution............................................................................................ 36
3.2.3 Plant Design Development .......................................................................................... 38
3.3 Challenges and Iterations.................................................................................................... 46

iv
Chapter 4: Presentation of Work................................................................................................... 48
4.1 Brand Identity ..................................................................................................................... 48
4.2 Conceptual Space Design ................................................................................................... 50
4.3 Plant Design........................................................................................................................ 50
Conclusion .................................................................................................................................... 59
Bibliography ................................................................................................................................. 61

v
List of Figures
Figure 1: Pieter Bruegel the Elder, The Tower of Babel, 1563, oil on oak panel. Digital
image. Bruegel 2018. Accessed April 15, 2024. https://www.bruegel2018.at/en/the-tower-ofbabel................................................................................................................................................ 7
Figure 2: John B. Calhoun’s “Universe 25” experiment setup diagram, 1962. Digital image.
Dallas Rodent. Accessed April 15, 2024. https://www.dallasrodent.com/universe-25.................. 8
Figure 3: Population growth and decline in Calhoun’s “Mouse Utopia” experiment, showing
four phases: (A) colonization, (B) exponential growth, (C) peak population stagnation, and
(D) decline to extinction. Data visualization based on Calhoun (1973). Digital image.
Sustainable Soltech Designs. Accessed April 15, 2024.
https://www.sustainable.soltechdesigns.com/critical-mass.html.................................................... 9
Figure 4: Global Urban and Rural Population Trends, 1950-2050. Based on UN World
Urbanization Prospects data. Digital image. ResearchGate. Accessed April 15, 2024.
https://www.researchgate.net/figure/the-worlds-urban-and-rural-population-1950-2050-
Source-Drawn-from-World-Urbanisation_fig1_305693708. ....................................................... 12
Figure 5: Still from Blade Runner showing Los Angeles cityscape with digital billboards,
directed by Ridley Scott, 1982. Digital image. California Herps. Accessed April 15, 2024.
https://californiaherps.com/films/snakefilms/BladeRunner.html ................................................. 16
Figure 6: Liam Young, Still from “Keeping Up Appearances,” part of the New City series,
2014. Digital image. ArchDaily. Accessed April 15, 2024.
https://www.archdaily.com/615649/corporate-dystopia-liam-young-imagines-a-world-inwhich-tech-companies-own-our-cities.......................................................................................... 17
Figure 7: Superflux, Mitigation of Shock installation view showing adapted living space
with hydroponic growing systems under artificial lighting, 2019. Digital image. Superflux.
Accessed April 15, 2024. https://superflux.in/index.php/work/mitigation-of-shock/ .................. 18
Figure 8: Meow Wolf, Omega Mart installation views showing retail space and portal
entrance, 2022. Digital image. Las Vegas Weekly. Accessed April 15, 2024.
https://lasvegasweekly.com/native/meow-wolf/2022/jun/27/inside-world-omega-mart-multisensory-experience/....................................................................................................................... 19
Figure 9: Urban Screen Life, digital collage exploring mediated relationships in urban
spaces. Digital collage by author, 2023. ....................................................................................... 20
Figure 10: Urban Sunset, digital collage examining verticality and alienation in metropolitan
environments. Digital artwork by author, 2023............................................................................ 21
Figure 11: Industrial decay, still from Birds. Digital video by author, 2023............................... 22
Figure 12: Natural resilience, still from Birds. Digital video by author, 2023............................ 22

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Figure 13: Blooming sequence, still from Birds. Digital video by author, 2023......................... 23
Figure 14: Withering sequence, still from Birds. Digital video by author, 2023. ....................... 23
Figure 15: Still from Little Shop of Horrors showing Audrey II plant creature, directed by
Frank Oz, 1986. Digital image. Frock Flicks. Accessed April 15, 2024.
https://frockflicks.com/tbt-little-shop-of-horrors-1986/ ............................................................... 24
Figure 16: Examples of vaporwave aesthetic showing classical statuary in pastel colors, retro
interface elements, and characteristic color palette, 2021. Digital image. Adobe Blog.
Accessed April 15, 2024. https://blog.adobe.com/en/publish/2021/05/25/explore-thelighthearted-retro-futurism-of-vintage-vaporwave-design ........................................................... 25
Figure 17: Restaurant interior showing Memphis Design influence through bold colors,
geometric patterns, and postmodern furniture, 2017. Digital image. Curbed Archive.
Accessed April 15, 2024. https://archive.curbed.com/2017/6/23/15864234/furniturememphis-design-ettore-sottsass.................................................................................................... 26
Figure 18: Celtic Tree of Life (Crann Bethadh), traditional symbol showing interconnected
branches and roots. Digital image. Silvotherapy. Accessed April 15, 2024.
https://silvotherapy.co.uk/articles/nature-connection-celts........................................................... 28
Figure 19: Animism brand identity system showing Hogbine typeface application, standard
color, grid construction, and black & white variations. Design by author, 2024. ........................ 30
Figure 20: Initial storyboard sketch exploring plant mutation sequence in urban
environment. Digital drawing by author, 2024............................................................................. 31
Figure 21: Refined storyboard showing luminescent flower evolution. Digital illustration by
author, 2024. ................................................................................................................................. 32
Figure 22: Pierre-Joseph Redouté, Hemerocallis Fulva (Orange Day Lily), c. 1802-1816.
Hand-colored botanical illustration from Les Liliacées. Digital image. Audubon Art.
Accessed April 15, 2024. https://www.audubonart.com/product/redoute-lilies-pl-16-orangeday-lily/......................................................................................................................................... 34
Figure 23: Luigi Serafini, Flora illustrations from Codex Seraphinianus, 1981. Pages
showing imaginary plant species with fictional scientific annotations. Digital image. Silver
Sprocket. Accessed April 15, 2024. https://store.silversprocket.net/products/codexseraphinianus-40th-anniversary-edition-by-luigi-serafini ............................................................ 35
Figure 24: Animism conceptual plant shop floor plan showing key zones: self-diagnosis
kiosks, consultation desk, special display domes, and plant retail area. Isometric illustration
by author, 2024. ............................................................................................................................ 37
Figure 25: Phalaenopsis Orchid Plant. Digital image. Langes Woodland Flowers. Accessed
April 15, 2024. https://langeswoodlandflowers.com/products/orchid-plant-prd-b1..................... 40

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Figure 26: Helianthus annuus (Common Sunflower) botanical illustration. Digital image.
Etsy. Accessed April 15, 2024. https://www.etsy.com/listing/530160885/helianthus-annuuscommon-sunflower. ...................................................................................................................... 41
Figure 27: Physalis alkekengi (Chinese Lantern) showing characteristic protective husks.
Digital image. Gardeners' World. Accessed April 15, 2024.
https://www.gardenersworld.com/how-to/grow-plants/how-to-grow-chinese-lantern-plantphysalis-alkekengi......................................................................................................................... 42
Figure 28: Saguaro Cactus (Carnegiea gigantea) showing segmented trunk structure. Digital
image. National Park Service. Accessed April 15, 2024.
https://www.nps.gov/articles/saguaro-cactus-facts.htm................................................................ 42
Figure 29: Pleated mushroom cap structure demonstrating surface pattern. Digital image.
Earth.org. Accessed April 15, 2024. https://earth.org/plastic-eating-mushroom-of-theamazon-and-ecuadors-development-dilemma. ............................................................................. 43
Figure 30: Bamboo culm showing characteristic node structure. Digital image. Lewis
Bamboo. Accessed April 15, 2024. https://lewisbamboo.com/pages/how-bamboo-grows.......... 43
Figure 31: Concept sketch for Digital Dependency Syndrome plant exploring orchid and
sunflower features. Digital drawing. Illustration by author.......................................................... 44
Figure 32: Concept sketch for Urban Isolation Complex plant exploring fusion of Chinese
Lantern and cactus structures. Digital drawing. Illustration by author......................................... 45
Figure 33: Concept sketch for Environmental Noise Sensitivity plant exploring mushroom
and bamboo elements. Digital drawing. Illustration by author..................................................... 45
Figure 34: Animism logo design documentation showing typeface selection, grid
construction, and design rationale. Design by author, 2024......................................................... 49
Figure 35: Animism logo application guide showing various iterations. Design by author,
2024............................................................................................................................................... 49
Figure 36: Digital Dependency Syndrome Plant, illustrating technological adaptation.
Digital illustration by author, 2024............................................................................................... 51
Figure 37: Urban Isolation Complex Plant, exploring protective barriers and social
disconnection. Digital illustration by author, 2024....................................................................... 52
Figure 38: Environmental Noise Sensitivity Plant, depicting acoustic defense mechanisms.
Digital illustration by author, 2024............................................................................................... 53
Figure 39: Digital Dependency Plant (DD-001) care instruction card showing front and back
design. Design by author, 2024..................................................................................................... 54

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Figure 40: Urban Isolation Plant (UI-002) care instruction card showing front and back
design. Design by author, 2024..................................................................................................... 55
Figure 41: Noise Sensitivity Plant (NS-003) care instruction card showing front and back
design. Design by author, 2024..................................................................................................... 56
Figure 42: Animism promotional card “Natural Debug 24/7”. Design by author, 2024............. 57
Figure 43: Animism promotional card “Refresh Your Brain Pain”. Design by author, 2024..... 57
Figure 44: Animism sticker collection featuring playful illustrations. Design by author,
2024............................................................................................................................................... 58
Table 1: Urban Diseases and Their Manifestations in Speculative Plant Design. Table by
author. ........................................................................................................................................... 38

ix
Abstract
Animism: Reimagining Urban Nature Through a Conceptual Plant Shop
Xiaoyuan Bao
In an era of accelerating urbanization, cities not only reshape physical landscapes but
fundamentally alter human dynamics. While urban environments offer unprecedented
opportunities, they simultaneously create a profound disconnection between humans and nature,
leading to peculiar new conditions we might call ‘urban diseases’ - strange symptoms born from
our artificial existence.
Animism is a speculative design project that takes the form of a plant shop as a conceptual
vehicle, exploring our relationship with nature in urban environments through design fiction.
Rather than designing an actual futuristic store, the project uses retro-futuristic visual language to
create a series of design works - including three signature mutated plant species with their care
rituals, spatial concepts, promotional materials, and shop collateral stickers. Each element
contributes to an alternative reality where urban diseases manifest in surreal yet familiar ways.
Through using the plant shop as a conceptual framework, the project presents a surreal
scenario where urban diseases are ‘treated’ through interaction with these evolved plants. Rather
than offering solutions, Animism creates a satirical yet thoughtful narrative that prompts us to
examine how far we have drifted from our natural origins. This work explores new possibilities
for imagining future relationships between urban dwellers and nature, suggesting that perhaps
our evolution and adaptation might take unexpected, even whimsical forms.
Keywords: Speculative Design, Design Fiction, Conceptual Retail Space, Urban Nature, Future
Plant Design, Narrative Design

1
Chapter 1: Introduction
As cities rapidly expand across our world, they create not just new skylines but new ways
of living that fundamentally alter how we exist. Through my practice as an artist and designer, I
became fascinated by the strange symptoms that emerge from our increasingly artificial urban
lives - what we might playfully call ‘urban diseases’. This led me to develop Animism, where I
use the concept of a plant shop as a vehicle to explore these conditions through speculative
design. This chapter outlines how this conceptual framework allows me to examine our changing
relationship with nature through design fiction rather than actual retail space development.
1.1 Problem Definition
Cities today are transforming faster than ever, creating artificial environments that
reshape not just our physical surroundings, but fundamentally alter how we live, behave, and
relate to nature. While these urban environments offer unprecedented convenience and
connectivity, they also breed peculiar new conditions - strange symptoms that emerge from our
increasingly synthetic existence. These ‘urban diseases’ manifest in curious ways: people
develop unhealthy attachments to their digital devices, find themselves oddly isolated in crowds,
or become hypersensitive to the constant urban noise.
In this context, nature takes on a new role. City dwellers often encounter nature in highly
controlled forms - as carefully maintained park lawns, indoor plants, or digital wallpapers of
forests on their screens. This domesticated version of nature serves more as decoration than a
true living force, reflecting our growing distance from our natural origins. Interestingly, while we
try to control and contain nature within urban boundaries, some plants have begun developing
unexpected survival strategies in response to urban conditions. Urban flora faces unique
challenges: artificial lighting disrupts natural growth cycles, industrial pollutants alter soil

2
composition, and constructed environments restrict natural reproduction patterns. These
pressures push plants toward surprising adaptations that seem to mirror our own urban
transformations.
Animism emerges from this context not as a solution, but as a speculative exploration of
how we might reimagine our relationship with nature in urban spaces. Through creating a
fictional plant shop with evolved species that ‘treat’ urban diseases, the project asks: How might
nature adapt to heal our urban ailments? What forms might emerge from this strange evolution?
Could a fictional space become a stage for examining these questions?
The core challenge lies in using the concept of a plant shop to visualize these invisible
transformations. Rather than designing an actual futuristic retail space, this project uses the plant
shop as a conceptual framework to tell stories about our urban condition. How can we use the
familiar retail format as an entry point for speculation? How might the language of commercial
spaces help us imagine alternative futures for the relationship between city dwellers and nature?
These questions guide Animism’s development as a conceptual design project, where each
element - from the mutated plants to their care rituals - serves to explore our changing
relationship with the natural world.
1.2 Research Objectives and Significance
This thesis explores how the concept of a retail space can serve as a medium for
speculative storytelling about our urban future. By choosing a plant shop as the conceptual
vehicle, rather than attempting to design an actual future store, I aim to accomplish several key
objectives:

3
First, I seek to develop an alternative reality where urban diseases are made visible
through evolved plant forms. Rather than presenting these conditions through clinical terms or
academic analysis, I create a conceptual world where they manifest as curious symptoms that can
be “treated” through interaction with specially adapted plants. Each plant species becomes a
character in this narrative, their mutations reflecting our own strange adaptations to urban life.
Second, this project investigates how retail aesthetics can be subverted for speculative
design. By adopting the familiar language of commercial spaces - from care instruction cards to
promotional materials - but infusing them with retro-futuristic visuals and satirical content, I
create an environment that feels both familiar and otherworldly. This approach allows viewers to
enter the speculation through a recognizable framework while encountering unexpected
narratives about our relationship with nature.
The strength of this work lies in its use of familiar retail language to discuss unfamiliar
ideas about our urban existence. The plant shop format - where many city dwellers typically
encounter “nature” - becomes a conceptual stage for blending imagination with reality, offering
new perspectives on urbanization. Instead of direct criticism, the project uses humor and
speculation to show how far we have drifted from our natural origins, imagining playful yet
thought-provoking possibilities for our future with nature.
1.3 Scope and Limitations
This thesis focuses on developing the plant shop as a conceptual design vehicle. It is
important to note that the goal is not to create a blueprint for an actual future retail space, but
rather to use the familiar format of a plant shop to explore and visualize ideas about urban
evolution. The scope includes:

4
• Creating three conceptual plant species as protagonists, each addressing a specific urban
disease through their imagined adaptations
• Developing visual elements that construct this speculative world, including spatial
concepts and promotional materials that utilize retro-futuristic aesthetics
• Designing narrative-driven plant care instruction cards that blend practical rituals with
fictional scenarios
• Producing shop collateral stickers that extend the project's storytelling into smaller,
collectible items
The project does not attempt to:
• Create actual plant specimens or biological experiments
• Design a functioning commercial retail space
• Provide practical urban planning solutions
• Develop business strategies for plant shops
Instead, this work exists purely in the realm of speculative design and storytelling. While
inspired by real urban conditions and botanical adaptations, it prioritizes conceptual exploration
and narrative over commercial or scientific viability. The project uses retail aesthetics as a
familiar entry point into larger questions about our relationship with nature.
1.4 Structure of the Thesis
This thesis unfolds through five chapters that trace the development and realization of
Animism: The first chapter establishes the project’s foundation by examining the core problems
driving this investigation and outlining key research objectives. The second chapter explores the
theoretical context surrounding urbanization and its impact on both human psychology and

5
natural systems, examining influential design projects and artistic works that have shaped my
approach, from ancient narratives about cities to contemporary speculative design.
The third chapter details my methodology through three main sections. It begins with the
narrative and conceptual framework, explaining how the project uses a speculative plant shop to
explore urban conditions. The visual design process section then traces the development of the
project’s retro-futuristic aesthetic, the evolution of the space planning, and the creation of the
mutated plant species. The chapter concludes by examining key challenges and iterations in the
design process.
The fourth chapter presents the final work through four distinct sections. It begins with
the brand identity system and its applications, followed by the conceptual space design that
shapes the visitor experience. The plant design section analyzes how each species embodies
specific urban conditions through their mutations. The chapter concludes with supporting
materials, including the care instruction cards, promotional materials, and sticker collection that
extend the project’s narrative.
The final chapter reflects on the project’s outcomes and considers potential directions for
future development, including possibilities for expanding the brand experience, creating
immersive installations, and developing new plant species to address emerging urban conditions.

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Chapter 2: Background and Literature Review
In developing Animism as a conceptual plant shop, I find it essential to understand how
cities have transformed and continue to transform our relationship with nature across different
times and cultures. My research reveals fascinating patterns: as cities grow larger and more
technologically advanced, they create increasingly artificial ways of living that push both
humans and nature to adapt in unexpected ways. Looking at how other designers and artists
approach similar themes helps shape my vision for using a plant shop as a vehicle for storytelling
about our urban future. This chapter traces these influences, from ancient narratives about cities
to contemporary design works that reimagine urban-nature relationships.
2.1 Cultural and Historical Perspectives on Urbanization
Cities have long embodied a fundamental tension between human achievement and
environmental alienation. This duality - urban environments as both centers of progress and
sources of ecological disconnection - provides crucial context for Animism’s exploration of how
nature might evolve in response to urban pressures. Historically, this tension appears vividly in
religious texts where cities often represent humanity’s attempt to separate itself from the natural
order. The Tower of Babel narrative (fig. 1) offers a particularly resonant example, depicting
urban development as an expression of human ambition to transcend natural limitations. The
inhabitants defy divine authority, as shown in their words: “They said to each other, ‘Come, let's
make bricks and bake them thoroughly.’ They used brick instead of stone, and tar for mortar.
Then they said, ‘Come, let us build ourselves a city, with a tower that reaches to the heavens, so

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that we may make a name for ourselves; otherwise, we will be scattered over the face of the
whole earth.’” (Genesis 11:3-4, NIV). 1
Figure 1: Pieter Bruegel the Elder, The Tower of Babel, 1563, oil on oak panel. Digital image. Bruegel 2018. Accessed
April 15, 2024. https://www.bruegel2018.at/en/the-tower-of-babel.
The story’s emphasis on artificial materials - “brick instead of stone, and tar for mortar” - mirrors
contemporary urban environments’ increasing artificiality, a theme that Animism explores
through its speculative plant mutations. Just as Babel’s inhabitants sought to reach heaven
through technological means, modern cities often prioritize manufactured solutions over natural
processes, creating conditions that demand new forms of adaptation from both humans and
nature.
The critique of urbanization has also been a central concern in Enlightenment thought,
particularly in the work of Jean-Jacques Rousseau. In his Discourse on Inequality, Rousseau
expressed deep skepticism toward the growing trend of urbanism, viewing cities as spaces that
1 Genesis 11:3-4, The Holy Bible: New International Version (Grand Rapids, MI: Zondervan, 1984).

8
corrupt human virtue. According to Rousseau, urban environments foster materialism, social
complexity, and artificial relationships, all of which estrange individuals from their natural state
of innocence and freedom. He argued that in cities, individuals become trapped in networks of
social dependencies, hierarchical competition, and artificial relationships, distancing themselves
from their authentic selves and nature (Rousseau 1755; Cranston 1983).2 Rousseau’s critique
frames the city not only as a corrupting influence on morality but also as an environment that
fundamentally alienates people from the purity of their natural existence.
This critique of urban artificiality finds empirical support in John B. Calhoun’s mid-20th
century experiments, which demonstrate how dense urban environments can generate novel
psychological and behavioral adaptations. Calhoun’s experimental setup (fig. 2) offers a striking
parallel to contemporary urban conditions, where increasing density and technological mediation
create unprecedented pressures for adaptation.
Figure 2: John B. Calhoun’s “Universe 25” experiment setup diagram, 1962. Digital image. Dallas Rodent. Accessed April
15, 2024. https://www.dallasrodent.com/universe-25.
2 Jean-Jacques Rousseau, Discourse on the Origin and Basis of Inequality Among Men, trans. Maurice Cranston (London:
Penguin Books, 1984).

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In the experiment, rats in a densely populated environment exhibited extreme behavioral
abnormalities, including heightened aggression, maternal neglect, and social withdrawal. The
population data from Calhoun’s experiment (fig. 3) reveals a clear pattern of social collapse
despite adequate resources. Calhoun’s findings suggest a direct link between environmental
density and the breakdown of social and psychological well-being, mirroring the challenges
faced in densely populated urban settings (Calhoun 1962).3
Figure 3: Population growth and decline in Calhoun’s “Mouse Utopia” experiment, showing four phases: (A)
colonization, (B) exponential growth, (C) peak population stagnation, and (D) decline to extinction. Data visualization
based on Calhoun (1973). Digital image. Sustainable Soltech Designs. Accessed April 15, 2024.
https://www.sustainable.soltechdesigns.com/critical-mass.html.
His work reinforced the view that urban environments, when pushed beyond a certain threshold,
could exacerbate societal dysfunction and mental health crises. Calhoun’s findings about
behavioral adaptation under urban pressure directly inform Animism’s speculation about how
plants might evolve in response to contemporary urban psychological conditions. Just as his
3 John B. Calhoun, Population Density and Social Pathology, Scientific American 206, no. 2 (1962): 139–48.

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experimental subjects developed unexpected behaviors to cope with density, the project’s
mutated plants represent nature’s potential adaptations to urban psychological pressures.
Moreover, urbanization’s complex relationship with nature has been explored in speculative
fiction and art, where the portrayal of nature as a “Gothic” force within dystopian cityscapes
highlights the tension between human control and natural resistance. In many dystopian literature
and Hollywood films, nature is often depicted as distorted, dangerous, or threatening—whether
in the form of floods, monstrous plants, or extreme weather - symbolizing a twisted
transformation of the environment within urban spaces (Snyder 2008).4 For example, in J.G.
Ballard’s The Drowned World, rising sea levels caused by global warming submerge entire
cities, with nature reverting to its prehistoric state. The novel critiques humanity’s impact on the
environment, illustrating how the natural world mutates and becomes hostile in the face of
ecological destruction. Nature in this dystopian narrative becomes a Gothic force that
overwhelms the remnants of human civilization, reflecting the fragility of urbanization in the
face of environmental upheaval (Ballard 1962).5 Similarly, in the film The Day After Tomorrow,
extreme weather events - triggered by climate change - wreak havoc on urban environments. The
film’s depiction of tidal waves, freezing temperatures, and mass destruction highlights nature’s
unpredictability and the devastating consequences of human arrogance (Emmerich 2004).6 While
appearing hostile from a human perspective, these changes represent natural systems seeking
new equilibria in response to anthropogenic pressures.
These portrayals suggest that nature, repressed and alienated by urbanization, inevitably
strikes back, reflecting deeper anxieties about humanity’s loss of control over the natural world.
4 Carrie Snyder, Nature's Revenge in Gothic Fiction, Journal of Gothic Studies, vol. 10, no. 2 (2008): 243-67. 5 J.G. Ballard, The Drowned World (New York: Berkley Books, 1962). 6 Roland Emmerich, The Day After Tomorrow, directed by Roland Emmerich (Los Angeles: Twentieth Century Fox, 2004).

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Simon Estok’s concept of ecophobia further elucidates this dynamic by describing humanity’s
irrational fear and hostility toward the natural world. Estok argues that this fear stems from
humanity’s historical inability to predict or control nature’s forces, a theme that resonates with
contemporary concerns in the Anthropocene, where human impact on the environment is more
profound than ever before. This fear of nature, coupled with the ecological consequences of
human activity, drives destructive behavior towards the environment, perpetuating a cycle of
alienation and ecological damage (Estok 2009).7 The portrayal of nature as an uncontrollable and
threatening force in urban environments underscores the psychological and philosophical conflict
between humanity and nature, raising critical questions about the future of urbanization and its
impact on both society and the environment.
2.2 Urbanization and Its Consequences
Urbanization, while often celebrated for its role in economic growth and technological
advancement, has profound and far-reaching impacts on both society and the environment.
Global urbanization trends (fig. 4) demonstrate the dramatic shift from rural to urban populations
projected through 2050. The rapid expansion of cities has introduced psychological challenges
that have changed how individuals interact with each other and their surroundings. Georg
Simmel’s seminal work, The Metropolis and Mental Life, provides a critical lens for
understanding these social transformations. Simmel argues that the overwhelming sensory
stimuli of the city, combined with the fast-paced demands of urban life, require individuals to
develop a form of emotional detachment to cope with the bombardment of stimuli. This
detachment, which Simmel calls the “blasé attitude,” enables city dwellers to navigate the chaos
7 Simon C. Estok, Ecophobia: The Greening of Literary Studies, ISLE: Interdisciplinary Studies in Literature and Environment
16, no. 2 (2009): 201–10.

12
of the metropolis but simultaneously leads to a breakdown of meaningful social ties (Simmel
1911).8 This “blasé attitude” that Simmel identifies manifests today in what Animism categorizes
as “urban diseases” - psychological adaptations to artificial environments that emerge as both
coping mechanism and symptom.
Figure 4: Global Urban and Rural Population Trends, 1950-2050. Based on UN World Urbanization Prospects data.
Digital image. ResearchGate. Accessed April 15, 2024. https://www.researchgate.net/figure/the-worlds-urban-and-ruralpopulation-1950-2050-Source-Drawn-from-World-Urbanisation_fig1_305693708.
In contrast to traditional, smaller communities, where close interpersonal relationships thrive,
the impersonal nature of urban interactions fosters alienation. Relationships in cities are often
transactional, fleeting, and devoid of deep emotional engagement, which leads to an increased
sense of isolation among urban dwellers. In today’s society, technological advancements and the
rise of digital communication have only intensified this alienation, as social media platforms and
work-life integration blur the lines between personal and professional lives. Despite the physical
proximity of millions of people, feelings of loneliness, stress, and isolation are pervasive in
urban environments (Simmel 1911). 8
8 Georg Simmel, The Metropolis and Mental Life (Chicago: University of Chicago Press, 1911).

13
Beyond these interpersonal challenges, urbanization has also contributed to a growing
disconnect between humans and the natural environment. Richard Louv, in his book Last Child
in the Woods, introduced the concept of nature-deficit disorder, a term that describes the
psychological and emotional effects of living without regular interaction with nature. As cities
expand, natural green spaces diminish, and urban residents - particularly children - are deprived
of the benefits that come from outdoor play and exposure to natural environments. Louv argues
that this disconnection from nature has severe consequences for mental health, contributing to
increased rates of anxiety, depression, and stress (Louv 2008).9 He notes, “Today, kids are aware
of the global threats to the environment - but their physical contact, their intimacy with nature, is
fading” (Louv 2008, 3).9 The absence of nature in urban settings amplifies what Louv describes
as the psychological toll of city living, depriving individuals of the restorative effects that green
spaces can provide.
This nature deficit disorder is not limited to children; it affects adults as well, as the fastpaced and competitive nature of city life often prevents urban dwellers from engaging with
nature in meaningful ways. The rise of indoor, screen-based activities, compounded by the
reduction of accessible green spaces, exacerbates this problem, leading to what could be termed
“city diseases”- a range of psychological conditions, such as stress, anxiety, and social isolation,
that arise from urban living (Louv and Suttie 2018).
10 Louv’s observations resonate deeply with
Simmel’s critique of urban life: the impersonal, fast-paced nature of cities not only alienates
individuals from each other but also from the natural world.
9 Richard Louv, Last Child in the Woods: Saving Our Children from Nature-Deficit Disorder (Chapel Hill: Algonquin Books,
2008).
10 Richard Louv and Jill Suttie, “How to Protect Kids from Nature-Deficit Disorder,” Greater Good Magazine, September 12,
2018, https://greatergood.berkeley.edu/article/item/how_to_protect_kids_from_nature_deficit_disorder.

14
This concept of nature deficit disorder directly informs Animism’s approach to reimagining
plants as therapeutic entities. Where traditional plant shops offer standardized, commodified
nature, this project proposes mutations that directly respond to and “treat” specific urban
psychological conditions. The speculative plant forms serve as both metaphor for our alienation
from nature and imagined solution to urban psychological pressures.
The environmental consequences of this disconnection extend beyond individual psychology.
Cities not only reshape human behavior but fundamentally alter natural systems, creating
conditions that demand new forms of adaptation from both humans and nature. Xuchao Yang
and his colleagues document how rapid urbanization exacerbates air and water pollution while
straining energy resources. These physical pressures parallel the psychological strains that
Animism explores, suggesting how both human and plant life must evolve in response to urban
conditions (Yang et al. 2015).11
Moreover, the replacement of natural landscapes with concrete and asphalt surfaces increases
the urban heat island effect, wherein cities become significantly warmer than surrounding rural
areas due to the absorption and retention of heat by buildings and infrastructure. This
intensification of heat not only affects the health of urban residents but also places additional
pressure on energy resources, as cities consume vast amounts of electricity for cooling and other
services (UN-Habitat 2011).12 The reduction of green spaces, coupled with the proliferation of
concrete structures, further isolates urban residents from the natural environment, deepening the
psychological and ecological alienation described by both Simmel and Louv.
11 Xuchao Yang et al., “Environmental Consequences of Rapid Urbanization: A Review of Recent Development,” International
Journal of Environmental Research and Public Health 12, no. 12 (2015): 14976-14997. 12 United Nations Human Settlements Programme (UN-Habitat), Cities and Climate Change: Global Report on Human
Settlements 2011 (London: Earthscan, 2011).

15
The degradation of natural ecosystems is closely tied to the emergence of nature-deficit
disorder in urban populations. As green spaces disappear, urban environments become
increasingly artificial, depriving residents of the psychological benefits associated with nature.
This degradation also diminishes biodiversity, as species that once thrived in these habitats are
forced to either adapt to urban life or face extinction. The relationship between urbanization and
environmental degradation is a feedback loop: as cities expand, natural ecosystems are
destroyed, leading to further disconnection from nature and a continued cycle of psychological
and environmental harm.
2.3 Inspiration and Influences for Project
In developing Animism, I was drawn to the idea of using conceptual retail spaces as stages
for speculation and storytelling. Rather than approaching urban conditions through traditional
research methods, I became fascinated by how familiar commercial environments could be
transformed into vehicles for exploring our changing relationship with nature in cities.
Several contemporary design projects have offered compelling responses to similar urbanenvironmental challenges. Liam Young’s New City series of animated collages provides a
particularly relevant framework for examining how speculative design can effectively critique
technological urbanization (Rawn 2015).13
Young’s dystopian cityscapes draw significant inspiration from Ridley Scott’s seminal 1982
film Blade Runner, which established a distinctive visual language for corporate-dominated
urban futures.14 The film’s cyberpunk aesthetic - characterized by towering neon-lit
13 Evan Rawn, “Corporate Dystopia: Liam Young Imagines a World in Which Tech Companies Own Our Cities,” ArchDaily,
April 9, 2015, https://www.archdaily.com/615649/corporate-dystopia-liam-young-imagines-a-world-in-which-tech-companiesown-our-cities. 14 Ridley Scott, dir., Blade Runner (Los Angeles: Warner Bros., 1982).

16
megastructures, perpetual rain-slicked streets, and the stark contrast between street-level decay
and corporate opulence - has profoundly influenced architectural visualization of future cities
(fig. 5). Like Scott’s neon-saturated Los Angeles of 2019, Young’s work explores how
commercial iconography can dominate and transform urban horizons, though Young pushes this
aesthetic even further to reflect our contemporary relationship with technology and corporate
power (Fraser 2015).
15
Figure 5: Still from Blade Runner showing Los Angeles cityscape with digital billboards, directed by Ridley Scott, 1982.
Digital image. California Herps. Accessed April 15, 2024. https://californiaherps.com/films/snakefilms/BladeRunner.html
Young, positioning himself as a speculative architect, creates provocative visions of future
cities that extrapolate current technological and social trends to their logical extremes. In his
animation Keeping Up Appearances, Young presents a cityscape where Samsung advertisements
dominate the horizon, with illuminated corporate logos marking ownership of real estate (fig. 6).
Through this extreme vision, Young shows how corporations are taking over our cities,
becoming more powerful than many nations.
15 Benjamin Fraser, “Blade Runner’s Urban Aesthetic,” Journal of Film and Video 67, no. 2 (2015): 3-18.

17
Figure 6: Liam Young, Still from “Keeping Up Appearances,” part of the New City series, 2014. Digital image. ArchDaily.
Accessed April 15, 2024. https://www.archdaily.com/615649/corporate-dystopia-liam-young-imagines-a-world-in-whichtech-companies-own-our-cities.
Young’s methodology of using exaggeration to make the invisible visible influences how
Animism approaches its speculative narrative. Just as he uses corporate architecture to expose our
changing relationship with technology, this project uses mutated plants to suggest alternative
possibilities for how we might coexist with nature in urban spaces.
The power of transforming familiar spaces into speculative environments is masterfully
demonstrated in Superflux’s Mitigation of Shock (fig. 7). The installation takes visitors through
an apartment in 2050, where the effects of climate change have radically altered daily life.
Computer screens display erratic weather forecasts while salvaged electronics power improvised
food production systems. Blackout curtains and mylar-covered windows hint at extreme
temperature management, while hydroponic gardens sprawl across former living spaces. Design
critic Justin McGuirk describes it as “a time machine built from the debris of the present,” noting

18
how the installation’s attention to lived-in details makes its future scenario feel unnervingly
plausible (McGuirk 2020, 92). 16
Figure 7: Superflux, Mitigation of Shock installation view showing adapted living space with hydroponic growing systems
under artificial lighting, 2019. Digital image. Superflux. Accessed April 15, 2024.
https://superflux.in/index.php/work/mitigation-of-shock/
This approach to world-building through physical space reaches spectacular heights in Meow
Wolf's Omega Mart. At first glance, the Las Vegas installation appears to be a typical
supermarket, complete with fluorescent lighting and orderly aisles. However, closer inspection
reveals products that grow increasingly bizarre – “Whale Song Deodorant” sits beside “Nebula
Loaf, ” while “Memory Manipulation Chips” fill entire shelves. These seemingly innocent
products serve as portals into deeper narrative spaces, leading visitors through portals disguised
16 McGuirk, Justin. “Designing for the Crisis to Come.” Design and Culture 12, no. 1 (2020): 83-102

19
as freezer doors and supply closets into vast alternative dimensions (fig.8). Art historian Claire
Bishop notes how the installation “collapses the boundary between retail space and art
experience, creating a new form of cultural critique that operates through pleasure rather than
confrontation” (Bishop 2022, 156).17 The project demonstrates how familiar commercial spaces
can be subverted to create immersive storytelling environments, a strategy that deeply influences
Animism’s approach to the plant shop format.
Figure 8: Meow Wolf, Omega Mart installation views showing retail space and portal entrance, 2022. Digital image. Las
Vegas Weekly. Accessed April 15, 2024. https://lasvegasweekly.com/native/meow-wolf/2022/jun/27/inside-world-omegamart-multi-sensory-experience/
My early explorations of urban themes through digital collage laid crucial groundwork for
Animism’s surrealist visual approach. In Urban Screen Life, (fig 9). the symbolic use of
television screens encasing human figures serves as a metaphor for digital isolation - an approach
to visual symbolism that would later inform my plant mutations. Urban Sunset (fig 10). pushes
this surrealist tendency further through its manipulation of scale and perspective. The stark
17 Bishop, Claire. “Beyond the White Cube: Art in the Age of Experience.” October 179 (2022): 151-172.

20
contrast between organic and geometric forms, along with the use of bold, unnatural colors,
established a visual strategy for representing urban psychological conditions through surreal
transformations.
Figure 9: Urban Screen Life, digital collage exploring mediated relationships in urban spaces. Digital collage by author,
2023.

21
Figure 10: Urban Sunset, digital collage examining verticality and alienation in metropolitan environments. Digital
artwork by author, 2023.
Additionally, my experimental video Birds, drawing direct inspiration from Hitchcock’s
1963 film of the same name, explores nature’s potential retaliation against industrial society.
Through manipulating found footage, I created unsettling juxtapositions between scenes of urban
development and natural imagery. The contrast between industrial decay (fig. 11) and defiant
wildlife (fig. 12) establishes the core tension, while the sequences of flowers blooming and
withering in distorted interior spaces (figs. 13 and 14) suggest nature’s uncanny transformation
under urban pressure. These distorted floral forms, captured in dark, confined spaces, particularly
sparked my interest in the concept of botanical mutation - an idea that would later evolve into
Animism’s speculative plant designs.

22
Figure 11: Industrial decay, still from Birds. Digital video by author, 2023.
Figure 12: Natural resilience, still from Birds. Digital video by author, 2023.

23
Figure 13: Blooming sequence, still from Birds. Digital video by author, 2023.
Figure 14: Withering sequence, still from Birds. Digital video by author, 2023.
The visual language of Animism emerged through synthesizing these various influences into
a distinct retro-futuristic style. Rather than strictly adhering to any single aesthetic movement, I

24
drew inspiration from several sources that resonated with the project’s exploration of mutated
nature and urban psychology. The 1986 film The Little Shop of Horrors provided an early
inspiration for how to render botanical mutations both unsettling and appealing (fig. 15). As
Susan Sontag observes in her analysis of science fiction aesthetics, such works succeed by
“making the familiar strange while keeping it recognizable enough to resonate with audiences”
(Sontag 1965, 42).18
Figure 15: Still from Little Shop of Horrors showing Audrey II plant creature, directed by Frank Oz, 1986. Digital image.
Frock Flicks. Accessed April 15, 2024. https://frockflicks.com/tbt-little-shop-of-horrors-1986/
The aesthetic development was further influenced by Vaporwave’s reinterpretation of
commercial design (fig. 16). What attracted me to this movement was its ability to transform
familiar commercial elements into something simultaneously nostalgic and alienating (Parker
2018, 156). 19 Similarly, Memphis Design’s bold use of geometric patterns and unconventional
18 Sontag, Susan. “The Imagination of Disaster.” Against Interpretation and Other Essays. New York: Farrar, Straus and Giroux,
1965.
19 Parker, James. “Vaporwave: Design and Disruption in the Digital Age.” Design Studies 45 (2018): 144-168

25
color combinations suggested ways to create a retail environment that feels both playful and
slightly off-kilter (fig. 17). As Barbara Radice notes, Memphis challenged conventional design
by “mixing high culture references with popular culture elements to create something entirely
new” (Radice 2017, 84).20
Figure 16: Examples of vaporwave aesthetic showing classical statuary in pastel colors, retro interface elements, and
characteristic color palette, 2021. Digital image. Adobe Blog. Accessed April 15, 2024.
https://blog.adobe.com/en/publish/2021/05/25/explore-the-lighthearted-retro-futurism-of-vintage-vaporwave-design
20 Radice, Barbara. Memphis: Research, Experiences, Results, Failures and Successes of New Design. London: Thames &
Hudson, 2017.

26
Figure 17: Restaurant interior showing Memphis Design influence through bold colors, geometric patterns, and
postmodern furniture, 2017. Digital image. Curbed Archive. Accessed April 15, 2024.
https://archive.curbed.com/2017/6/23/15864234/furniture-memphis-design-ettore-sottsass
Through experimenting with these influences, I have developed a visual approach that
combines clean, geometric forms with organic elements, creating a playful tension between
structure and fluidity. The color palette employs saturated, vibrant hues that lean into the surreal
rather than the natural, while the illustration style embraces a deliberately whimsical and
fantastical approach to plant forms. This combination creates a visual language that is both
sophisticated and playful, transforming traditional botanical representation into something more
imaginative and unexpected.
This retro-futuristic style emerges as the most effective way to present my mutated plants as
both commercial products and critical artifacts. It allows me to maintain the familiar framework
of retail design while suggesting an alternative timeline where our relationship with nature
evolved differently. The approach transforms the conventional plant shop aesthetic into

27
something more questioning and surreal, supporting the project’s exploration of how nature
might adapt to and reflect our strange urban ways of living.

28
Chapter 3: Methodology
Moving beyond traditional approaches to urban critique, I develop Animism as a
conceptual plant shop where nature evolves in unexpected ways to mirror our modern urban
existence. Through speculative design, I create not just a collection of strange plants, but a
conceptual retail environment where these botanical mutations reflect and respond to the peculiar
ways we live in cities today. The project unfolds as a complete narrative experience - from the
shop’s visual identity and spatial design to the plant care rituals and collectible items - each
element helping to tell the story of how nature might adapt and transform alongside us.
3.1 Narrative and Conceptual Framework
My choice of Animism as the project title stems from a deep fascination with Celtic
animistic philosophy and its contemporary relevance to urban environmental discourse. The
Celtic Tree of Life symbol (fig. 18) illustrates the ancient understanding of nature as an
interconnected, living system - a stark contrast to our modern urban relationship with natural
elements.
Figure 18: Celtic Tree of Life (Crann Bethadh), traditional symbol showing interconnected branches and roots. Digital
image. Silvotherapy. Accessed April 15, 2024. https://silvotherapy.co.uk/articles/nature-connection-celts.

29
Where Celtic animism recognized the sacred in every natural element and emphasized
humanity’s place within a living, breathing ecosystem, contemporary urban life increasingly
separates us from these fundamental connections (Harvey 2005, 28).
21 I was particularly struck
by how animistic beliefs fostered a profound respect for natural systems and an understanding of
the delicate balance between human activity and environmental health. In Celtic traditions, plants
were not merely resources but conscious entities deserving of respect and care (Jones 2013,
803).22 This perspective offers a compelling counterpoint to our current urban condition, where
nature is often reduced to decorative elements in city planning or commercial products in plant
shops.
This deep understanding of nature’s vitality inspired me to name this conceptual plant
shop “Animism.” The name not only pays homage to the Celtic tradition of animistic beliefs but
also suggests how plants might “awaken” and “adapt” in new ways in this speculative future
scenario. As a name for a conceptual plant shop, it conveys that nature is not merely decorative
but possesses the ability to actively adapt and respond to urban pressures.
In developing the visual identity, the brand logo (fig. 19) uses the elegant serif typeface
Hogbine, which creates an intriguing tension between classical typography and futuristic vision.
The choice of a serif typeface, particularly one with dramatic contrast between thick and thin
strokes, deliberately evokes Victorian-era botanical illustrations and scientific journals. This
historical reference, when combined with the clean, precise execution and grid-based
construction, creates the retro-futuristic aesthetic that runs throughout the project. The decorative
21 Graham Harvey, Animism: Respecting the Living World (New York: Columbia University Press, 2005), 28. 22 Michael Owen Jones, “Animism in Celtic Landscapes: An Object-Oriented Approach to Environmental History,”
Environmental History 18, no. 4 (2013): 803.

30
flourish of the letter “A” extends upward like a growing plant, suggesting natural vitality, while
its geometric precision hints at controlled mutation.
Figure 19: Animism brand identity system showing Hogbine typeface application, standard color, grid construction, and
black & white variations. Design by author, 2024.
The decision to employ speculative design as my primary methodology reflects a
deliberate choice to move beyond traditional problem-solving approaches. Rather than proposing
immediate solutions, I choose to create exaggerated, almost absurd scenarios that reveal the
underlying patterns of our current reality. Within this context, a plant shop serves as the perfect
vehicle for critique. By presenting mutated plants as commercial products, I employ dark humor
to highlight how nature might “sell” solutions to problems created by urban development itself.
Each plant becomes a living metaphor for our strange urban habits, while the familiar retail
format makes these bizarre adaptations feel eerily possible.
The project emerges from a speculative future scenario where rapid urbanization has
pushed both cities and nature to their limits. In this imagined timeline, industrial pollution

31
triggers unprecedented mutations in airborne spores, creating new life forms that begin to adapt
to our artificial environment.
My series of illustrations (figs. 20 and 21) document these strange transformations -
spores evolving to absorb digital signals, plants developing protective mechanisms against urban
noise, and bizarre hybrid species emerging in the gaps between natural and artificial worlds.
Starting with a basic sketch (fig. 20), I plotted out the key stages of a flower’s metamorphosis
within this toxic environment. The refined digital version (fig. 21) transforms this sequence into
a more detailed study, showing how a seemingly normal bud gradually develops luminescent
properties and morphs into an otherworldly bloom with unnaturally vibrant petals. This visual
development helped establish the aesthetic direction for the project, particularly in representing
how plants might adapt to changed environment through beautiful yet unsettling mutations.
Figure 20: Initial storyboard sketch exploring plant mutation sequence in urban environment. Digital drawing by author,
2024.

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Figure 21: Refined storyboard showing luminescent flower evolution. Digital illustration by author, 2024.
As nature begins this peculiar evolution, morphing into forms we have never seen before,
Animism emerges as a new kind of plant shop - one where each species serves as a living remedy
for the strange symptoms of urban life. Through this lens of speculative retail, the store setting
also provides a familiar framework through which to present unfamiliar ideas. This juxtaposition
of the ordinary and the extraordinary creates what Sterling terms “diegetic prototypes” -
designed objects that within a narrative framework to provoke discussion about potential futures
(Sterling 2009, 21).23
3.2 Visual Design Process
The visual design process for Animism integrates multiple influences and methodologies
to create a cohesive design language that supports the project’s speculative narrative. This
section traces how the project’s aesthetic evolved from initial influences on final execution,
examining three key phases of development. First, it explores how various artistic and cultural
references shaped the project's distinctive retro-futuristic style. Then, it documents the evolution
of the space planning that transforms these visual principles into a physical environment. Finally,
23 Bruce Sterling, “Design Fiction: Diegetic Prototypes,” Interactions 16, no. 3 (2009): 21.

33
it details the development of the mutated plant species that serve as the project's central design
elements.
3.2.1 Influences and Visual Language Development
In developing the visual language for Animism, I create a distinct retro-futuristic style that
embraces both the strange and familiar. The aesthetic approach merges plant shop visuals with
early digital interfaces, creating an intentionally artificial world where nature adopts unexpected
forms. Drawing from Memphis Design’s bold geometries and unconventional color
combinations, I develop a visual system that feels both playful and slightly unsettling. The color
palette employs saturated hues to create a deliberately synthetic feeling that mirrors how nature
might mutate in our urban future.
This aesthetic development was particularly influenced by Vaporwave’s reinterpretation
of commercial design. What attracted me to this movement was its ability to transform familiar
commercial elements into something simultaneously nostalgic and alienating. Taking cues from
vintage computer interfaces and early digital graphics, I create a visual language that deliberately
glitches between natural and artificial aesthetics. Plant illustrations combine flowing, organic
lines with rigid, technological elements, while promotional materials merge pixelated graphics
with botanical motifs. This combination creates a visual language that is both sophisticated and
playful, transforming traditional botanical representation into something more imaginative and
unexpected.
While this retro-futuristic style establishes the project’s overall aesthetic direction, the
development of the plant mutations themselves requires a different kind of visual exploration.
The history of botanical illustration offers important context for Animism’s visual approach,
though primarily as a point of departure. Consider Pierre-Joseph Redouté’s Les Liliacées, where

34
each lily is rendered with extraordinary precision - from the delicate veining of petals to the
exact angles of stamen placement (fig. 22).
Figure 22: Pierre-Joseph Redouté, Hemerocallis Fulva (Orange Day Lily), c. 1802-1816. Hand-colored botanical
illustration from Les Liliacées. Digital image. Audubon Art. Accessed April 15, 2024.
https://www.audubonart.com/product/redoute-lilies-pl-16-orange-day-lily/
This masterwork exemplifies how traditional botanical illustrators combined scientific precision
with aesthetic refinement to create authoritative visual records (Saunders 1995).
24 However,
Animism deliberately moves away from this documentary tradition, instead exploring how the
language of botanical illustration can be repurposed for speculative design.
24 Gill Saunders, Picturing Plants: An Analytical History of Botanical Illustration (Berkeley: University of California Press,
1995), 23-25.

35
This shift from documentation to speculation finds its most compelling precedent in Luigi
Serafini’s Codex Seraphinianus. The Codex subverts traditional botanical illustration’s
commitment to accuracy, instead presenting an encyclopedic catalog of impossible flora and
fauna. Through meticulous technical rendering, Serafini creates detailed illustrations of
impossible plant hybrids that, despite their surreal nature, feel strangely plausible (fig. 23). The
work demonstrates how the visual authority of scientific illustration can be redirected to validate
purely imaginative forms (Schwenger 2019). 25
Figure 23: Luigi Serafini, Flora illustrations from Codex Seraphinianus, 1981. Pages showing imaginary plant species
with fictional scientific annotations. Digital image. Silver Sprocket. Accessed April 15, 2024.
https://store.silversprocket.net/products/codex-seraphinianus-40th-anniversary-edition-by-luigi-serafini
25 Peter Schwenger, “Codex Seraphinianus, Hallucinatory Encyclopedia,” Visualizing Strange Science 15, no. 2 (2019): 112-128.

36
Animism builds on this tradition of creative subversion. While the project borrows certain
visual techniques from botanical illustration - attention to structure, and clear presentation of
plant features - it uses these elements to explore speculative evolution rather than document
existing species. Each mutated plant exists in a deliberately ambiguous space between the
familiar and the impossible, reflecting how urban pressures might drive nature toward strange
new adaptations.
This approach transcends both pure documentation and pure fantasy. The project’s plants
maintain just enough biological plausibility to feel credible while clearly operating outside
natural law. Through this lens, the mutations become a means of exploring how nature might
evolve in response to our increasingly artificial urban existence (Schroeder 2020).26 The
resulting illustrations occupy a unique position: neither scientific documents nor pure
imagination, but speculative designs that use the language of botanical illustration to envision
possible futures.
3.2.2 Space Planning Evolution
Having established the project’s visual language, the next design phase involves
translating these aesthetic principles into a physical environment that can effectively tell the
story of nature’s urban evolution. Space planning adopts an open layout design with clear
functional zones. The floor plan (fig. 24) shows how the shop divides into three main areas: selfdiagnosis zone, plant consultation desk, and retail area. Near the entrance, self-diagnosis kiosks
help visitors identify their symptoms, while the central consultation desk provides professional
26 Karl Schroeder, “The Imaginable Real: Speculation as Natural Science,” Journal of Future Studies 24, no. 4 (2020): 79-92.

37
advice and purchase services. In the retail area, the most striking feature is the display space
designed for the Urban Isolation Complex plant. Two transparent domes form the core of this
special exhibition area, showcasing plants with isolation characteristics and allowing visitors to
directly experience how plants respond to urban dwellers’ solitude. Other mutated plants are
distributed throughout different corners of the retail area, creating a coherent visiting experience.
Figure 24: Animism conceptual plant shop floor plan showing key zones: self-diagnosis kiosks, consultation desk, special
display domes, and plant retail area. Isometric illustration by author, 2024.

38
3.2.3 Plant Design Development
In our fast-paced urban environment, I have identified three distinctive conditions that
my speculative plants address: Digital Dependency Syndrome, Urban Isolation Complex, and
Environmental Noise Sensitivity. Those affected by Digital Dependency find themselves
compulsively checking devices every few minutes, their sense of digital and physical reality
increasingly blurred. Urban Isolation manifests as profound loneliness in crowds, while Noise
Sensitivity leaves city dwellers desperately seeking quiet sanctuaries.
Before developing the final plant designs, I first documented the characteristics and
manifestations of each urban condition (Table 1). This systematic mapping helped establish clear
connections between urban symptoms and potential plant adaptations. For example, Digital
Dependency Syndrome manifests in compulsive device checking and anxiety in network-free
environments, suggesting plants that might develop cable-like stems and port-shaped flowers.
Urban Isolation Complex, characterized by profound loneliness in crowds, inspired protective
globe structures, while Environmental Noise Sensitivity led to the concept of sound-absorbing
tissues and vibration-dampening structures.
Table 1: Urban Diseases and Their Manifestations in Speculative Plant Design. Table by author.
Disease
Classification
Key Symptoms Plant Adaptations
Digital Dependency
Syndrome (DDS)
• Compulsive device checking
every 3-5 minutes
• Conditioned response to
digital notifications
• Anxiety in network-free
environments
• Blurred boundaries between
reality and virtual world
• Cable-like stems
• Port-shaped flowers
• Digital signal
mimicry

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Keywords: compulsive checking,
screen fixation, information anxiety,
virtual reality addiction
Urban Isolation
Complex (UIC)
• Intense loneliness in crowds
• Superficial social connections
lacking depth
• Habitual avoidance of real
interactions
• Seeking safety in enclosed
spaces
Keywords:
collective solitude, social
detachment, emotional isolation,
spatial enclosure
• Protective globes
• Isolated Chambers
• Geometric growth
patterns
Environmental Noise
Sensitivity (ENS)
• Chronic stress from urban
background noise
• Inability to focus in noisy
environments
• Seeking extremely quiet
spaces
• Overreaction to sudden
sounds
Keywords:
auditory overload, noise stress, sound
anxiety, auditory defense
• Sound absorbing
tissues
• Vibration-dampening
structures
• Acoustic neutralizing
patterns
These modern conditions inspire me to conceptualize three futuristic plant forms.
For Digital Dependency Syndrome, I combine characteristics from orchids and sunflowers (figs.
25 and 26) The orchid’s aerial roots and branching patterns remind me of data cables and
network structures, which evolves into the cable-like stems in my design. Meanwhile, the
sunflower inspires me with its heliotropic nature - its natural tendency to follow the sun. In my
futuristic variant, this light-seeking behavior has evolved to follow artificial light instead,

40
particularly the glow of digital screens. Just as sunflowers turn their faces toward sunlight, these
mutated plants bend toward the blue light of devices, reflecting our own screen-fixated
behaviors. This technological tropism becomes a perfect metaphor for Digital Dependency
Syndrome, where both the plant and its human hosts find themselves irresistibly drawn to digital
displays.
Figure 25: Phalaenopsis Orchid Plant. Digital image. Langes Woodland Flowers. Accessed April 15, 2024.
https://langeswoodlandflowers.com/products/orchid-plant-prd-b1.

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Figure 26: Helianthus annuus (Common Sunflower) botanical illustration. Digital image. Etsy. Accessed April 15, 2024.
https://www.etsy.com/listing/530160885/helianthus-annuus-common-sunflower.
The Urban Isolation Complex plant’s design synthesizes the protective enclosure of the
Chinese Lantern Plant (fig. 27) with the structured growth pattern of cacti (fig. 28). The Chinese
Lantern Plant’s natural structure, where fruits develop within translucent protective husks,
provides the basis for the isolation chambers in the design. These husks transform into
illuminated geometric spheres, reflecting the psychological barriers prevalent in urban
environments. The cacti’s distinct segmented trunk structure serves as the central support system,
its resilient and defensive nature paralleling urban dwellers’ protective mechanisms. This
hybridization creates a visual metaphor for urban isolation - each chamber acts as an individual
sanctuary, physically connected yet emotionally separated, much like the paradoxical nature of
modern urban living where isolation exists within density.

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Figure 27: Physalis alkekengi (Chinese Lantern) showing characteristic protective husks. Digital image. Gardeners'
World. Accessed April 15, 2024. https://www.gardenersworld.com/how-to/grow-plants/how-to-grow-chinese-lanternplant-physalis-alkekengi.
Figure 28: Saguaro Cactus (Carnegiea gigantea) showing segmented trunk structure. Digital image. National Park
Service. Accessed April 15, 2024. https://www.nps.gov/articles/saguaro-cactus-facts.htm.
The Environmental Noise Sensitivity plant’s design combines the expansive pleated
surfaces of mushroom caps (fig. 29) with bamboo’s segmented growth pattern (fig. 30), creating
a form optimized for acoustic absorption and filtration. I reimagine the mushroom’s pleated
umbrella structure as a sound wave absorption device, while the bamboo-jointed stem suggests

43
sound vibration conduction and filtering. This design implies city dwellers’ defense mechanisms
against noise.
Figure 29: Pleated mushroom cap structure demonstrating surface pattern. Digital image. Earth.org. Accessed April 15,
2024. https://earth.org/plastic-eating-mushroom-of-the-amazon-and-ecuadors-development-dilemma.
Figure 30: Bamboo culm showing characteristic node structure. Digital image. Lewis Bamboo. Accessed April 15, 2024.
https://lewisbamboo.com/pages/how-bamboo-grows.
The initial design development process is documented through a series of exploratory
sketches (figs. 31-33), mapping the evolutionary trajectory from existing botanical structures to

44
speculative adaptations. These studies trace critical morphological transformations: orchid roots
and sunflower’s heliotropic nature evolve into digital-interfacing structures (fig. 31), while the
protective husks of Chinese Lantern plants merge with cacti’s fortified structure to form isolation
chambers (fig. 32). The final series examines how mushroom caps’ pleated surfaces combine
with bamboo’s segmented growth pattern to create acoustic processing mechanisms (fig. 33).
Each sketch sequence reveals the gradual abstraction of natural forms into hybrid structures that
respond to urban psychological conditions, maintaining biological plausibility while suggesting
technological adaptation.
Figure 31: Concept sketch for Digital Dependency Syndrome plant exploring orchid and sunflower features. Digital
drawing. Illustration by author.

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Figure 32: Concept sketch for Urban Isolation Complex plant exploring fusion of Chinese Lantern and cactus structures.
Digital drawing. Illustration by author.
Figure 33: Concept sketch for Environmental Noise Sensitivity plant exploring mushroom and bamboo elements. Digital
drawing. Illustration by author.
The design development extends to creating detailed care instruction cards that blur the
line between plant care and urban therapy. These cards adopt the format of pharmaceutical
leaflets while maintaining the familiar language of plant care, creating an intriguing parallel

46
between botanical nurture and self-care rituals. Similarly, the promotional materials - from
posters to sticker collections - develop a visual vocabulary that merges gardening tools with
technological interfaces, reinforcing the project’s speculation about nature’s evolution in our
digital age.
Through this comprehensive design process, each element of Animism works together to
build a compelling narrative about our changing relationship with nature in urban spaces. The
result is not just a collection of strange plants, but a complete speculative environment that
invites visitors to imagine how nature might adapt to heal our urban ailments.
3.3 Challenges and Iterations
One significant challenge emerged at the early stage of this project: integrating multiple
design elements into a coherent narrative. The project began with various directions - spatial
design for a plant shop, narrative development for a future scenario, and specific plant mutations.
Initial attempts to pursue all these elements in equal depth led to a scattered focus, making it
difficult to create a compelling story. Through several iterations, I learned to let the concept of a
speculative plant shop guide my design decisions, using it as a framework to connect different
elements.
Given the ambitious scale of creating a complete conceptual retail space, I chose to
narrow my focus to key elements that could best convey the project's core ideas. Rather than
attempting to design every aspect of a futuristic plant shop, I concentrated on developing a clear
spatial layout, three signature plant species that embody different urban conditions, and essential
promotional materials. This focused approach allowed me to explore the concept in sufficient
depth while maintaining the project's speculative nature. The result is a selective but thorough

47
visualization of how a plant shop might evolve to address our changing relationship with urban
spaces.

48
Chapter 4: Presentation of Work
Through various design elements, Animism creates a speculative retail environment
where nature’s strange evolution becomes tangible. This chapter presents the final design
outcomes, from brand identity elements to conceptual retail space and the collection of mutated
plants designed to address urban conditions.
4.1 Brand Identity
The brand identity for Animism creates a visual language that merges botanical tradition
with technological evolution (fig. 34). At the core of this system is the elegant serif typeface
Hogbine, which creates an intriguing tension between classical and futuristic aesthetics. The
logotype's most distinctive feature is the decorative flourish extending from the letter “A,” which
transforms into a plant-like form while maintaining geometric precision - a detail that embodies
the project’s concept of nature adapting to urban structures.
The logo system demonstrates versatility across different applications (fig. 35). The
standard vertical lockup serves as the primary brand signature, ideal for shop signage and
promotional materials. The horizontal variation offers flexibility for narrower spaces and digital
platforms. The symbol-only version, extracting the distinctive “A” with its organic flourish,
works effectively as a simplified mark for small-scale applications like social media icons or
brand stamps. The system also includes reversed versions for use on dark backgrounds, ensuring
the brand maintains its impact across various contexts.
Each version of the logo is governed by strict spacing and proportion rules, with a clear
protective space defined by the height of the “A” character. This systematic approach ensures the
brand identity maintains its integrity while adapting to different environments - much like the
mutated plants at the heart of the project.

49
Figure 34: Animism logo design documentation showing typeface selection, grid construction, and design rationale. Design
by author, 2024.
Figure 35: Animism logo application guide showing various iterations. Design by author, 2024.

50
4.2 Conceptual Space Design
The shop’s spatial layout (fig. 24) translates Animism’s narrative into a physical
environment. The open-plan design guides visitors through three key zones: self-diagnosis area
near the entrance, central consultation desk, and the main retail space. Most notably, the retail
area features two transparent domes displaying the Urban Isolation Complex plant, creating
striking visual focal points while embodying the project's themes of protection and observation.
4.3 Plant Design
Each of the three signature plant species embodies a distinct urban condition through its
unique mutations. The Digital Dependency Plant (fig. 36) transforms natural stem structures into
intertwined data cables, while its interface-shaped blooms glow with artificial light. The

51
symmetrical arrangement of four “blooms” reflects our systematic reliance on digital networks,
while the deep purples and fluorescent accents evoke electronic displays.
Figure 36: Digital Dependency Syndrome Plant, illustrating technological adaptation. Digital illustration by author, 2024.
The Urban Isolation Complex Plant (fig. 37) manifests urban solitude through its
transparent spherical chambers. Each sphere serves as a protective environment, isolating its
contents while maintaining a visual connection to the whole - much like apartment units in a

52
high-rise building. The red crystalline formations at the top of each chamber represent attempts
at communication through these self-imposed barriers.
Figure 37: Urban Isolation Complex Plant, exploring protective barriers and social disconnection. Digital illustration by
author, 2024.
The Environmental Noise Sensitivity Plant (fig. 38) develops elaborate sound-filtering
mechanisms. Its pleated, mushroom-like caps suggest acoustic absorption properties, while the
segmented stems imply a sophisticated noise-processing system. The contrasting yellow and

53
black surfaces with red accents deliberately reference industrial safety signals, creating a
connection between natural defense mechanisms and urban warning systems.
Figure 38: Environmental Noise Sensitivity Plant, depicting acoustic defense mechanisms. Digital illustration by author,
2024.
4.4 Supporting Materials
The plant care cards merge plant care instructions with treatment protocols. Taking the
Digital Dependency Plant (DD-001) as an example (fig. 39), I designed a two-sided care card

54
system. The front side presents the plant’s visual identity against a vibrant orange background,
featuring its scientific name (Digitalis Screenensis) and common names (Screen Breath, Offline
Flower, Pixel Plant), along with a warning level and complexity rating that mimics software
interface elements.
Figure 39: Digital Dependency Plant (DD-001) care instruction card showing front and back design. Design by author,
2024.
The reverse side adopts a clinical aesthetic reminiscent of pharmaceutical leaflets, listing
the plant’s “Primary Benefits” such as Digital Detoxification and Screen Addiction Treatment.

55
Most notably, the care requirements parody traditional plant care instructions: “Water” becomes
“1-2 Weekly Downloads Of Mineral Water,” while “Light” specifies “8 Hours Of Blue Light
Exposure Recommended.”
Similarly, the Urban Isolation Plant card (figs. 40) employs a cool purple palette,
featuring isolation-themed benefits and care instructions that blend solitude with growth
requirements. The Noise Sensitivity Plant card (figs. 41) uses calming blue-green tones, with
care protocols focused on acoustic harmony and noise filtration.
Figure 40: Urban Isolation Plant (UI-002) care instruction card showing front and back design. Design by author, 2024.

56
Figure 41: Noise Sensitivity Plant (NS-003) care instruction card showing front and back design. Design by author, 2024.
To extend the project’s narrative beyond the shop space, I developed a series of
promotional materials that playfully blend digital aesthetics with plant shop imagery. The
promotional cards (figs. 42 and 43) embrace different aspects of this fusion. The “Natural Debug
24/7” card adopts a retro sunburst pattern in vibrant purple, playing with the concept of constant
digital availability through a nature-themed lens. The “Refresh Your Urban Pain” card
deliberately mimics early computer interfaces, complete with pixelated fonts and pop-up
windows, depicting a watering can “debugging” a digitally overwhelmed mind.

57
Figure 42: Animism promotional card “Natural Debug 24/7”. Design by author, 2024.
Figure 43: Animism promotional card “Refresh Your Brain Pain”. Design by author, 2024.

58
The sticker collection (fig. 44) further develops this visual language through a series of
hybrid icons that merge botanical and technological elements. Images like a brain with digital
roots, gardening tools reimagined as computer peripherals, and mushrooms with circuit patterns
create a cohesive visual vocabulary for the project. The collection includes both decorative
elements and functional markers like “VIP” badges and price tags, suggesting how this
speculative plant shop might operate as a retail space. The consistent use of bold colors against a
dark background, combined with the mix of organic and geometric forms, reinforces the
project’s retro-futuristic aesthetic while making these promotional items attractive as
collectibles.
Figure 44: Animism sticker collection featuring playful illustrations. Design by author, 2024.

59
Conclusion
Through the development of Animism, I explore how a conceptual plant shop can serve
as a vehicle for examining our evolving relationship with nature in urban environments. By
creating mutated plants that respond to urban conditions, designing an immersive retail space,
and developing supporting materials that blur the line between plant care and urban therapy, the
project uses speculative design to tell stories about possible futures where nature adapts
alongside our increasingly artificial lives.
Looking forward, this project suggests several potential directions for further
development. One possibility would be expanding it into a complete brand experience through a
comprehensive visual identity system. This could include developing detailed brand guidelines,
product packaging design - particularly distinctive seed packets that blend traditional botanical
packaging with speculative mutations - seasonal campaign materials, and digital presence -
creating a fuller picture of how this speculative plant shop might operate in our urban future.
The most compelling direction would be transforming Animism into a large-scale
immersive installation. Taking inspiration from projects like Meow Wolf’s Omega Mart, the
plant shop concept could evolve into a physical space where visitors can fully experience this
speculative future. The installation could feature interactive elements like functioning selfdiagnosis kiosks, responsive plant displays, and multimedia elements that bring the mutations to
life. The transparent domes could be realized at full scale, creating striking architectural features
that visitors can enter and experience. This physical manifestation would allow people to truly
step into the narrative, making the project’s themes of urban evolution and nature’s adaptation
tangible and experiential.

60
Additionally, the project’s conceptual framework could be expanded to address other
emerging urban conditions. New plant species could be developed to respond to phenomena like
virtual identity disorders or temporal compression syndrome, creating an ever-evolving
catalogue of nature’s adaptations to urban life. The plant care system could grow into a more
elaborate ritual-based practice, further exploring the intersection of nature, technology, and urban
wellbeing.
Through these potential developments, Animism could continue to evolve as a critical
lens for examining our changing relationship with nature, using the familiar language of retail to
tell new stories about our urban future.

61
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Abstract (if available)

Abstract In an era of accelerating urbanization, cities not only reshape physical landscapes but fundamentally alter human dynamics. While urban environments offer unprecedented opportunities, they simultaneously create a profound disconnection between humans and nature, leading to peculiar new conditions we might call ‘urban diseases’ - strange symptoms born from our artificial existence.
Animism is a speculative design project that takes the form of a plant shop as a conceptual vehicle, exploring our relationship with nature in urban environments through design fiction. Rather than designing an actual futuristic store, the project uses retro-futuristic visual language to create a series of design works - including three signature mutated plant species with their care rituals, spatial concepts, promotional materials, and shop collateral stickers. Each element contributes to an alternative reality where urban diseases manifest in surreal yet familiar ways.
Through using the plant shop as a conceptual framework, the project presents a surreal scenario where urban diseases are ‘treated’ through interaction with these evolved plants. Rather than offering solutions, Animism creates a satirical yet thoughtful narrative that prompts us to examine how far we have drifted from our natural origins. This work explores new possibilities for imagining future relationships between urban dwellers and nature, suggesting that perhaps our evolution and adaptation might take unexpected, even whimsical forms.

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Asset Metadata

Creator Bao, Xiaoyuan (author)

Core Title Animism: reimagining urban nature through a conceptual plant shop

School Roski School of Art and Design

Degree Master of Fine Arts

Degree Program Design

Degree Conferral Date 2024-12

Publication Date 12/06/2024

Defense Date 12/06/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag conceptual retail space,design fiction,future plant design,narrative design,OAI-PMH Harvest,speculative design,urban nature

Format theses (aat)

Language English

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Advisor Robison, Jean (committee chair), Adams, China (committee member), Trujillo, Osvaldo (committee member)

Creator Email baoxiaoy@usc.edu,xiaoyuanty@126.com

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