Conference Agenda

Cross-scale, multidisciplinary design projects such as station area redevelopment are inherently complex, with many stakeholders and vast amounts of data relevant to decision-making. In the Netherlands, these projects face a dual challenge: meeting housing demands while reducing the embodied carbon emissions associated with construction. Early integration of carbon data is essential, yet the abundance and heterogeneity of supporting datasets required for Life-Cycle Assessment beyond the building scale can hinder progress. This paper presents a collaborative workshop method that enables a data-supported design process for informed decision-making. Sessions with station architects, urban designers, railway operators, and carbon specialists co-create a curated data inventory for low-carbon station design. Using analogue data-cards in a constrained deck turns digital data opulence into a structured, tangible, face-to-face procedure based on a shared language, making tacit choices explicit and traceable. Findings underscore the architect’s new digital-era role as a knowledge integrator.

The paper addresses emerging and potential changes to the core expertise and structural frameworks of architectural practice in an era of human-machine collaboration and transdisciplinary design, utilizing history and theory to situate the current condition of the profession and its socio-technical infrastructure. The role and relationships defining the architect within society are dissected in light of practical uses of artificial intelligence, highlighting the rapidly evolving ways in which our relationships with site, construction, collaborators, and even the fundamental DNA of the building as an artifact are shifting in the transition from digitization to digitalization. Activities surrounding data collection, classification, process generation and layering are addressed as emergent and fundamental acts of 21st century design.

This practice-based and interdisciplinary doctoral research develops methods for participatory and ethically engaged architectural research. Drawing on over a decade of architectural practice, it proposes practice-as-paradigm: a mode of knowledge production grounded in making, relation, and reflection. Centred on the Southampton Way estate in south-east London, the research develops a reflexive and diffractive methodology attentive to affective-knowing—tacit, embodied, and emotional knowledge—alongside technical expertise. Drawing on radical democratic theory, it treats participation as performative and political, where care and conflict co-produce insight. Models, prototypes, and installations operate as heuristic and epistemic artefacts through which collaboration, negotiation, and play generate situated understanding. Rather than reporting empirical outcomes, the paper articulates the early methodological development of a framework connecting architectural design, social science, and ethical reflection. In doing so, it positions architectural practice as an epistemic and ethical mode of inquiry through which collective investigation and democratic participation can be explored.

This study reframes architectural practice in Bajo Atrato, Colombia, through a relational understanding of territory and emotion, during the implementation of the Peace Agreement. Using a situated research-by-design approach, the study combines field journeys, workshops on emotional cartographies, semi-structured interviews, participant observation, and audiovisual recordings in Carmen del Darién, Marriaga Swamp, Triganá Bay, and Santa María de la Antigua del Darién. These methods consider everyday life, memory, and collective care as forms of territorial knowledge. The recognition of territories, identification of emotions, and the visibility of the Territorial Expressions of Grieving led to the creation of the Atlas of Emotions, a methodological and interpretive tool that reveals hidden relationships between territories and their collective emotional expressions. By mapping these emotional-spatial constellations, the Atlas positions architecture as a situated practice of listening, relational engagement, and territorial repair, rather than as a traditionally object-centred discipline.

This research examines the design studio as a form of architectural design research. Architectural and Urban Design studios have been operating as epistemic laboratories in which the processes of evaluating wicked problems, proposing design interventions, and iteratively testing the fit between the brief and design intersect to generate new knowledge. It is often impractical to evaluate the long-term implications of built works on complex, interrelated societal issues, as such assessments are time-consuming, costly, and rarely yield transferable insights. Hence, many architects and urban designers investigate design opportunities in design studios, allowing them to test, reframe and expand their understanding of a wicked problem in a less constrained yet more feasible way. Anchored in Schön’s theory of Reflective Practice, this Architectural and Urban Design research on postgraduate design studios analyses how designing act as wicked problem reframers, and reveal how designing reorganises understandings of complex architectural questions.

Embedding an ‘ethics of care’ into relational and collaborative design research practices benefits from a reflexive and reflective iterative approach. Through this process new ways of elevating multiple forms of knowing are developed, power asymmetries are disrupted, and inclusivity can be expanded. While care may often be included in our mindsets and principles for design research, care itself is often invisible or under talked about. Using the example of our project — Care-full Co-production — a practical perspective on co-producing research is taken. Through a case study of women’s health in Aotearoa New Zealand, this perspective highlights the everyday acts of care and the high-level care-filled thinking that are woven throughout the project. These examples are shared in a detailed and practical approach to inspire application across other contexts.

In an era marked by increasing uncertainty and precariousness, feminist care ethics provide a conceptual foundation for reimagining alternative futures, challenging the persistence of "futures-as-usual" that often perpetuate dominant sociotechnical regimes. Care is a future-oriented and imaginative ethic: one that requires moral imagination to recognize the needs of distant others, the vulnerabilities of future generations, and the ethical entanglements of emerging sociotechnical systems. Building on an ethnographic study of design practices within a multinational technology company, we propose reorienting questions and tactics to integrate care ethics into future-making, addressing the disjunction between techno-futures and emergent care-informed design approaches. We outline how this reorientation can move from caring about to caring as an ongoing, future-oriented responsibility, supporting practitioners in making moral judgments that embed care in their work.

In contemporary design practice, care risks becoming an imperative that obscures asymmetric power relations. This paper interrogates the relationship between design and care, asking: how can design shift from producing solutions to cultivating relations of care without reproducing paternalistic logics? Through a comparative analysis of case studies through the lenses of knowing, making, and defining with care, we treat caring about, caring for, and caring with as simultaneous and co-present dimensions to examine how care operates within design processes. The analysis identifies a structural pattern: while caring about and caring for are compatible with existing design logics, caring with encounters systematic resistance. It is not sufficient to design for care; we argue for designing with and through care as a relational practice capable of repair, listening, and regeneration. The contribution outlines a critical-analytical framework as a vocabulary for interrogating when care becomes transformative and when it reproduces the asymmetries it claims to address.

Design’s vocabulary is saturated with metaphors of control (targets, strategies, impacts), revealing a militarized ontology that frames design as domination over problems, contexts, and futures. This paper examines the politics of wording and introduces Unwording Design as a practice of ontological care: dismantling violent grammars that sustain extractive imaginaries and cultivating vocabularies grounded in affection, reciprocity, and relational ethics.

Drawing on Haraway’s insight that the thoughts we use to think matter (2016), Butler’s performativity (2006), and Escobar’s ontological design (2018), we argue that transforming language transforms the worlds design brings into being. Unwording shifts from languages of war to languages of tenderness, from users to companions, from targets to relations, from innovation to care. In dialogue with feminist, decolonial, and earth-being perspectives (Puig de la Bellacasa, 2017; Tronto, 1993), this paper envisions design evolution through a living vocabulary of care, inviting plural, situated practices that affirm coexistence and collective flourishing.

This paper emerges from a reflection on what counts as success in design. We examine how the relational qualities of care can guide design practice, approaching design as a continuous and socially embedded practice of responsiveness. Drawing on two projects in China, an age-friendly digital service initiative and a community governance intervention, we analyse how design unfolded through incremental adjustments, shared responsibilities, and situated betterments. Across both contexts, value developed through chains of responsiveness involving institutional uptake, resident participation, and evolving collaborations that extended the influence of the work beyond the designers’ immediate involvement. By bringing design into dialogue with Mol’s logic of care, the paper approaches design practice as a form of relational maintenance, through which designers help sustain the networks that allow concerns to surface, be recognised, and be carried forward. From this perspective, design contributes to making things better by supporting ongoing and collective processes of responsiveness.

Design researchers are increasingly being exposed to stressors while empathizing with their participants such as feeling emotionally charged, leading them to feeling vulnerable. Currently, there is a lack of clear consensus on how this vulnerability arises and manifests, hindering both individual and collective awareness and support. To address this gap, we conducted an empirical investigation into the vulnerability of design researchers. We conducted exploratory workshops with PhD students working in the field of design research in sensitive settings. The workshops consisted of three approaches to understand researcher vulnerability: (1) Reflecting on individual and collective vulnerability, (2) Exploring embodied experiences, and (3) Establishing a collective narrative. Through these approaches, we contribute an understanding of design researcher’s vulnerability, which changes over time, is manifested in bodily experience, and poses systemic challenges.

This scholarship of teaching and learning (SoTL) study examines how African philosophies can function as pedagogical infrastructures, not decorative add-ons, in first-year design education. Through a 12-week introductory studio with 25 students meeting twice weekly (2.5 hours per session), I embedded Ubuntu (relational being), Sankofa (retrieving wisdom from the past), and rhythm (cyclical temporality) into the course structure. Learning artefacts comprise studio materials, anonymised teaching feedback collected as part of routine class activities, and my own teaching observations reviewed thematically around space, time, and feedback relations. Observed teaching indicators suggested higher participation in critique (average peer comments per student rising from 3.1 to 7.8), earlier sharing of work-in-progress, and more iterative refinements when these philosophies structured studio practices. The study demonstrates how decolonial pedagogies can operate within existing institutional frameworks, transforming first-year studios into spaces of collective learning, cumulative memory, and rhythmic renewal rather than competitive individual achievement.

Western philosophy has often framed the gaze as alienation: for Sartre, the self fractures through being-for-others, while for Lacan the subject becomes object within the visual field. Norman Bryson (1988) expands this view by engaging Japanese thought—particularly Nishida and Nishitani—to propose a relational gaze grounded in śūnyatā (emptiness). This paper argues that Alexander McQueen’s fashion materially performs this philosophical shift. Across four feminine archetypes—the Armored, Vulnerable, Elegant, and Transformative Woman—McQueen stages a movement from confrontation to relation. Through these tensions, McQueen’s fashion operates as existential design discourse: a mode of design in which form interrogates what it means to see and be seen.

This research is situated at the intersection of design and Science and Technology Studies, focusing on training as a form of mediation which provides a pathway to rethinking our relationship with smart technologies. It draws on a provocation from Stanley Kubrick’s Full Metal Jacket (1987), with particular attention to the relationship between Private Pyle and his rifle during the training sequence. The rifle foregrounds the way that technology cannot be reduced to purely material, moral, or constructivist accounts, but is constituted through the mediating role of training. The analysis mobilises translation as a design method, treating the film prop as a discursive resource for exploring alternative technological relations. Building on this, I propose a reconfiguration of smart technologies by repositioning training as a third force that shapes the relationship between user and system.

This paper critiques dominant design pedagogies for their alignment with positivist and modernist paradigms, which limit design’s capacity for serious philosophical inquiry. It argues that Speculative and Critical Design (SCD) pedagogy offers an alternative philosophy, functioning as a powerful method for fomenting critical engagement by enabling students to materialize abstract concepts. Drawing on a case study from an undergraduate course on human-robot-cyborg relations, the paper employs the metaphor of 'portals' to analyse three thematic case studies. Each portal opens onto a distinct philosophical debate: the nature of reality and the self, the biopolitics of the body, and the networked subject. The analysis of student work and reflections indicates how the pedagogical framework enabled students to independently enter into dialogue with these complex themes. The paper concludes by presenting a model for 'portal-making,' positioning design education as a critical practice for exploring the ethical and ontological dimensions of a posthuman condition.

Contemporary design theory and practice have long taken user need-oriented as the core principle. Need has become the ethical and practical foundation of design. It has suppressed the creativity and initiative of both users and designers in the name of functionality. Tracing the origin and evolution of need in design history, this paper points out its inadaptability to complex contemporary design scenarios and diverse demands. On this basis, it introduces the Desiring Production theory of Deleuze and Guattari, reinterprets desire as a more productive and relational life power than need, and explores the feasible path for the ethical intervention of desire in design practice. Combining connectiveness, disjunction and conjunction, it proposes the core metaphor of desire lines, pointing to a design ethical action path that transcends the need paradigm, responds to pluriverse and faces subject concerns and desire generation.

Dominant paradigms have confined imaginaries to narrow, hegemonic narratives, severing them from plural, relational, and non-domesticated possibilities. This paper challenges monolithic views of language and material craft by offering a transformative lens on cultural and linguistic dynamism within design research and practice. Drawing on “savage” futures (Lévi-Strauss, 1966) and “translanguaging” (Lee, 2015; García & Kleifgen, 2020), we highlight the situated creative practices of peripheral craft makers as mediums for multilingual storytelling, identity negotiation, and speculative futures. Translanguaging extends beyond language, involving embodied, material, and affective communication as non-hierarchical resources for collective worlding and shared meaning-making. Through participatory craft projects in the Global South, ‘making’ emerges as a situated site for dialogue, situated learning, and reworlding, enabling new coexistence imaginaries. This work contributes to design by introducing a lexicon and methodology that amplify marginalised voices and promote equitable, dynamic, pluralistic futures responsive to ecological and social crises.

Intimate health deals with highly personal functions and experiences related to sexuality, reproduction, and vulnerability. In this paper, we enquire into the private nature and sociocultural constructs of these experiences in relation to self-knowledge. We introduce a design workshop with three women aged 65+ in Portugal, where we investigated intimate care practices throughout the lifecourse. Our findings show that participatory methods can open dialogue and reveal tacit knowledge, and that lifelong learning is critical for healthy ageing. We reflect on our practice in relation to design considerations for designing with taboo and offer future directions for designing for and with the intimate ageing body.

An effort to co-explore later life sexuality with older adults, this study critically reflects on a series of intentionally designed activities to discuss intimacy and sexual pleasure in a care context. Five activities were organised in a Belgian care home, involving four to six female residents, that gradually introduced a more explicit language about sexual health. The results highlight that: 1) taboos are difficult to discuss, therefore storytelling is crucial, 2) feeling vulnerable is confronting, but also enables genuine connections, and 3) co-exploring taboos through playfulness, while enabling self-expression. This paper provides a more in-depth understanding of designing collective dialogues on sensitive topics by proposing a set of design suggestions. Future research should consider how care staff and family members can be meaningfully involved in these interventions, designed to challenge taboos, without compromising residents’ agency.

Endometriosis is a chronic condition often surrounded by taboo, silence, and misunderstanding. Although diagnostic uncertainty and epistemic tensions shape endometriosis care, little is known about how design can address the communicative and relational gaps between patients and gynaecologists. This article investigates how participatory and speculative design can support communication between these groups. Using a Research through Design approach, three co-design workshops were conducted with six individuals with endometriosis and five doctors. Participants created analogue artefacts including empathy maps, body maps, clay representations, written narratives, speculative futures and collective posters that materialised embodied pain, emotional burden and clinical perspectives. The workshops revealed how experiential and clinical knowledge can meet through material and narrative mediation, enabling mutual empathy and discursive practices of care beyond conventional consultation settings. The artefacts acted as mediators that articulated aspects of endometriosis that are difficult to verbalise, while highlighting resonances and divergencies between patients and doctors.

This study explores how romantic relationships and expressions of intimacy unfold within social virtual reality (SVR) environments such as VRChat. Drawing on virtual ethnography and 26 semi-structured interviews, it examines how embodiment, anonymity, and technological affordances shape trust, emotional intimacy, and sexual expression. While often framed as taboo, these dynamics are central to understanding relational practices in immersive environments. Findings show that intimacy is experienced as both emotionally authentic and technologically mediated, emerging through practices such as roleplay, virtual touch, and shared activities. The study highlights how anonymity simultaneously enables openness and introduces challenges around trust, consent, and safety. By adopting a reflexive qualitative approach, this paper positions SVR as a critical site for investigating and designing for taboo topics, emphasizing that considerations of trust, safety, and consent are essential when designing for intimate experiences in immersive spaces.

Death and Anticipatory Grief remain culturally taboo, limiting opportunities for open dialogue and emotional preparedness. This paper explores how design can facilitate such conversations through play. Inner Play is a form of imaginative and introspective play that aids engagement with taboos in an empathic way, but lacks ways to understand and evaluate how to design for it. Employing a Research-through-Design approach, the papers presents a speculative design project that mediates communication between the bereaved and the deceased with a game kit resulting in a shared grief artefact. Ten participants in five workshops engaged in an iterative prototyping process, which resulted in the Inner Play framework. This framework consists of three key dimensions and an evaluation tool, Play Empathy Map, to guide design practitioners working with Taboo. The Framework contributes to ongoing efforts in play design to engage ethically with emotionally charged or tabooed aspects of human experience.

This paper examines how design can restore cognitive and sensory depth within a culture shaped by frictionless digitality. The dominance of frictionless design—defined by speed, ease, and seamlessness—has optimized usability but diminished the experiential conditions that make meaning possible. Meaning emerges through resistance: the effort, uncertainty, and interpretive engagement that activate attention and reward. Drawing on embodied cognition and semiotic theory, the paper argues that cognitive effort and sensory resistance are essential to perception and value. Physical and spatial artefacts, through material texture, spatial articulation, and perceptual complexity, can reintroduce friction into everyday experience, inviting interpretive participation rather than passive consumption. In contrast to predictive systems that externalize thought, such design restores the dialogue between body, mind, and environment. The proposed aesthetics of resistance reframes aesthetic as cognitive grip rather than ease, outlining an ecology of effort through which resistance becomes a source of meaning for user experience.

Cities pursuing systemic approaches to climate neutrality increasingly leverage bottom-up strategies to foster multi-stakeholder engagement, enabling societal and behavioural transformations. However, assessing their impact through conventional quantitative indicators alone fails to capture the complexity of change. Design for systemic climate transitions enables cities to build pluralistic understandings of impact through mutual and reflexive learning that cultivates collective intelligence and shared insights. In this study, we analyse the quantitative indicators, qualitative data and collective sensemaking from 53 European cities participating in the EU Mission Cities: findings show that collective sensemaking has become a key enabler of reflexive learning, allowing cities to surface tacit and cross-contextual knowledge. This study advances the understanding of multi-dimensional evaluations in systemic design and illustrates how cities leverage collective sensemaking to iteratively assess and improve interventions on multi-stakeholder engagement and citizens’ behavioural change within climate transitions.

Most assessments of technology impact occur only after its deployment, limiting the ability to address unintended social, cultural, and organizational effects. This paper introduces TechWork, a prospective and reflective tool for evaluating emerging technologies within existing work systems. Grounded in reflective practice tradition, socio-technical systems theory, and contemporary work design research, TechWork guides interdisciplinary teams through structured prompts and impact mappings to examine how their own design choices influence autonomy, skills, collaboration, and job demands. The tool was tested through design-education workshops in an architectural studio, applied to vernacular construction practices where embodied expertise and cultural knowledge are central to the work. Findings show that TechWork helps participants anticipate socio-technical trade-offs and revise technology or workflow decisions toward more impact-aware outcomes. The study demonstrates TechWork’s value as both a pedagogical instrument for prospective design thinking and a methodological framework for socio-technical innovation.

As the industry moves beyond the internal combustion engine, incumbent original equipment manufacturers (incumbent OEMs) need a systematic, experience perception-centred way to evaluate design. We introduce a Perceived Value Framework (PVF) derived from a 2015–2025 review that defines six dimensions: perceived functionality, performance, intelligence, aesthetics, brand, and sustainability, each linked to sensory indicators. These dimensions are mapped to the emotional design model’s visceral, behavioral, and reflective levels to connect first impressions, in-use experience, and long-term meaning. Comparative case analyses of four OEMs’ 2024–2025 products validate how these dimensions operate across distinct value orchestration and design transformation initiatives. Cross-case results reveal consistent patterns in value anchoring, prioritization, and layered orchestration. We contribute a compact indicator set and a repeatable routine for strategy reviews and competitive analysis, showing that effective positioning arises from deliberate value focus and informed trade-offs rather than feature accumulation, and we note implications and limits.

Industrial designers increasingly valorise pre-consumer waste through upcycling; yet face methodological ambiguities when applying Life Cycle Assessment (LCA) for design decision-making. This paper critically examines barriers in using LCA to evaluate circular design strategies for industrial waste metals, plastics, and wood.

Through focused literature review of LCA studies and guidelines, this research identifies key methodological tensions: allocation approaches produce contradictory conclusions about upcycling benefits; system boundary definitions inconsistently classify upcycling activities; functional unit choices fundamentally alter comparative results; guideline selection (ISO, GHG Protocol, PEF) creates large variation in results; performance metrics remain application-dependent rather than operational.

Findings reveal when LCA provides reliable design guidance versus when methodological inconsistency undermines decision-making. Results demonstrate how perceived organisational risk from methodological uncertainty inhibits upcycling adoption. This analysis equips designers with critical understanding of LCA's applicability boundaries for evidence-based circular design in industrial contexts.

Design plays a key role in driving economic and organizational transformations. However, existing approaches face significant challenges in addressing the translation of cross-cultural needs, integrating diverse perspectives, and critically reassessing the role of design within the singular economic/efficiency paradigm, particularly regarding affective experiences assessment such as comfort. To address these, this study proposes a qualitative framework that incorporates multiple stakeholders and cross-cultural users into the design process, referred to as the Diversity-Co-Creation-Framework (DCF). Through four phases—Scanning, Framing, Mapping, and Deepening—the DCF combines tools such as semi-structured interviews and the Futures Triangle from foresight research to engage opinion leaders and cross-cultural users. Using comfort experience in intelligent cockpit design as an example and incorporating the participation of 20 KOLs/KOCs from 14 countries, the framework is empirically validated. This framework provides a theoretical basis for understanding the diverse roles of design and evaluating the mutual compatibility of affective experiences.

This study demonstrates the potential of an experiential learning approach combining craft production experiences, dialogue with craftsmen, and record-keeping activities for young people. An ageing workforce and declining demand contribute to the loss of cultural identity and intangible value that craftsmanship culture provides to contemporary Japanese society. However, opportunities to engage with crafts beyond mere consumption remain limited. Using Kyoto roof tiles (京瓦 / Kyō-gawara) making as a primary case study, this research examines how experiential knowledge can promote cultural transmission and education through workshops and record-keeping (聞き書き / kikigaki). Through hands-on making and record-keeping, participants gained technical skills and a broader social understanding of local communities, histories, and cultural contexts. It also established a participatory archive of shared narratives—“職人図書 / Shokunin Tosho”—demonstrating how such practices can form a sustainable model for cultural transmission. The findings reposition education within a cultural transmission framework and propose embodied learning methods.

Since the first programs were established in 2011, China's design doctoral education has expanded to 37 institutions by 2024, yet Chinese scholars remain marginalized in international venues like DRS (3.6% of papers, 2012–2024). Through mixed-methods analysis of 426 dissertations, 95 conference papers, 6,239 citations, 40 author trajectories, and 9 interviews, we reveal systematic divergence rather than exclusion. Citation analysis demonstrates a 50.9 percentage point shift: scholars cite 54.5% Chinese-language sources in dissertations but only 3.6% in DRS papers. Author tracking shows 72.5% became one-time participants with no subsequent first-author international publications, evidencing strategic credential-seeking over sustained engagement. Keyword analysis confirms Chinese research concentrates on cultural heritage (58.2%) while international discourse emphasizes user-centered approaches (44.5%). We theorize this as institutionalized epistemic sovereignty: active construction of parallel knowledge infrastructure serving mainland China's knowledge demands independently of international norms, raising fundamental questions about for whom design knowledge should be produced.

This research investigates the interdependencies between the subject of Art History and Design History within undergraduate programs across five prominent institutions in India. The study draws upon the experiences, perspectives, and reflections of both teachers and students and through interviews, curriculum mapping, and classroom observations, explores how these two disciplines influence, overlap, and inform each other in both content and pedagogy. The findings reveal that these subjects are deeply interconnected, with each contributing significantly to the understanding and evolution of the other. The research also highlights institutional variations among curriculum development. It is observed that the absence of a defined framework frequently leads to conceptual overlap and pedagogical ambiguity resulting in inconsistencies in course outcomes and assessment. The study suggests that while the interconnectedness of the subjects is valuable, there is an urgent need to develop a curricular structure that delineates their distinct purposes while maintaining productive intersections.

Fostering intercultural integration of students of diverse backgrounds is a key concern for design education. This study examines how design students at a culturally-diverse North American university perceive cultural inclusivity in their educational experience and effects on sense of belonging and integration. We surveyed 102 undergraduate and graduate students about expressing cultural identities in the design classroom, cultural inclusivity of learning materials, environment and interactions, and navigating challenging experiences in cross-cultural integration at the school. Although the study found a considerable level of cultural inclusivity, findings suggest that efforts to foster diversity and integration are still necessary, since difficulties seem to disproportionately affect international students – communication barriers, group work imbalances, critique sessions not inclusive, and learning materials that do not reflect global, multicultural perspectives. Based on the findings, we indicate areas for improvement and share recommendations on making design education more inclusive, equitable, and responsive to diverse student needs.

This paper presents a case study of the ‘Rural Fieldwork and Design Practice’ course at the School of Fine Arts, Minzu University of China, examining how situated learning in ethnic regions of Western Sichuan cultivates public design sensibilities. By engaging students in deep cultural immersion – from intangible cultural heritage documentation to community-based design interventions – the curriculum transforms local ethnic knowledge into plural pedagogical resources. The study analyses how students develop relational competencies through ethnographic fieldwork, collaborative design exhibitions, and cultural creative markets. Findings demonstrate that this situated approach fosters political sensitivity toward ethnic cultures, nurtures cross-cultural collaborative reflexes, and strengthens systemic awareness of design’s role in cultural sustainability. The paper argues for embedding plural epistemologies and localized practices within public design education, offering an innovative model for training designers capable of navigating complex socio-cultural contexts while advancing global conversations on culturally grounded design pedagogy.

Advances in AI, wearables, exoskeletons, and BCIs are driving human augmentation (HA) into everyday use, yet education lacks a design-focused definition, a practical positioning language, and awareness of ethics. This study asks: How should HA be defined for design, and how can a critical, inclusive approach be taught and validated? Based on systematic reviews, we propose a three-part toolkit: a Human–Machine–Environment paradigm that redefines objects and boundaries; a map of design possibilities (dimensions, categories, intervention levels); and ethical dimensions spanning the thing, the human, the environment, and society. We validated the toolkit through three 8–11 week speculative workshops (n=45). Four case results indicate improved placement of interventions, routine co-reasoning between values and functions, and shifts in concepts from physical replication towards sensory, cognitive, and social augmentation. Remaining gaps include uneven coverage and the limited scope of augmentation. We offer a transferable pedagogy and governance-by-design pathway for HA.

Design students often hesitate to use drawing as a thinking tool, wary of

expectations for figurative outcomes and the evaluative traditions that shape the

status quo in product design. This study draws on object-oriented ontology (OOO)

and vibrant materialism to explore how a drawing tool—specifically the pencil—

might act as an agent in rethinking the pedagogy of semiogenic design visualcy. The

study proposes micro-camera activities that capture the pencil’s perspective to

produce a radically altered visual and auditory encounter with drawing. Tracing the

pencil’s entanglements reveals drawing not simply as representation but relation.

The line becomes both a mark and an event. In this reframing, authorship and

perception blur in the pencil’s quiet acts of resistance. Through small experimental

interventions, the pencil invites a reimagining of relationships between tools, space

and authorship. This shifts drawing from depiction toward encounter, opening

possibility for new pedagogical approaches to visual thinking in design.

Designers often converse without speech, for example, through sketches and artifacts. These conversations transverse across layers through gestures, time, and materialities. In this paper, we report on a demonstration at a design conference, where we brought together the practices of two designers, into a collaborative real-time sketching environment. Through this unfolding exchange, we explore how sketching can move beyond individual expression to become a collective emergent record of thought and relation. The demo drew together digital and physical media while listening to a theoretical prompt, in a shared conversation with the audience. From this process and its tensions, we derive a set of agreements and actions for designing collective layered sketching practices: considering voice, encouraging relationality, and supporting the embodied performative choreography of drawing together. In doing so, we propose sketching as a shared, relational practice of conversation and reflection within design research.

Sketching is a vital form of communication across creative industries. As an essential part of the filmmaking process, costume illustration functions as a mediating design practice where sketching translates concept art into wearable garments. Historically rooted in hand-drawn fashion illustration, contemporary costume sketching has evolved into a globalised digital practice that bridges artistic vision and physical construction. Through this lens of design mediation and embodied expertise, the study draws on industry interviews and reflective practice to examine the costume illustrator’s changing role as translator between the digital concept and physical costume. Costume sketching solves practical challenges based on knowledge of tangible garment construction, however, the hierarchical dominance of visual development departments within film production presents increasing challenges to translating fantastical concept art into wearable clothes. While visual development artists often prioritise aesthetic and narrative spectacle, costume illustrators reinterpret these designs through tacit, material knowledge of fabrics, fit, and movement.

As a society, we are confronted with polycrisis. An epistemic shift, that means shifting our way of knowing and changing our ways of looking at complex societal issues, is necessary to be able to transform our practices. Tim Ingold offers such an epistemic shift through the concept of ‘minor key’, fostering open-endedness, imagination, and experimentation. Designing for transformation in the minor key requires different forms of co-creating and communicating. In contrast to a major key, closed style of visualising, minor key drawing might fit, due to its potential for imperfection, open-endedness and imagination. In this pictorial, I’ll reflect on a 4-year journey exploring minor key drawing in different multi-actor ecosystems. I discuss two topics that emerged: its qualities for affording commoning, and the relationship between the medium and the message. Overall, drawing in the minor key affords pluriversal eco-systems to experiment, collaborate and learn in vulnerable, open-ended and imaginative ways.

In this paper, we explore sketching as a speculative and reflective practice for imagining social robots. Through a series of participatory design workshops, participants observed two prototype robots and then produced sketches and word maps envisioning possible appearances, behaviours, and social roles for robots in everyday life. Analysing the artefacts of these workshops reveals how non-expert human users perceive and imagine future robots in their worlds. We examine common themes of emotion, familiarity, discomfort, and relational values in the artefacts produced by the workshop participants. Our work highlights a way that sketching and written idea generation by non-designers can serve as a tool for thinking through affective, aesthetic, and relational possibilities in human-robot interaction. By situating sketching as a medium for speculative imagination rather than technical specification, our paper contributes to an emerging understanding of Sketching Futures as a relational, situated, and iterative process.

When designing Information Visualisations for Media and Information Literacy (MIL) initiatives, a significant challenge lies in ensuring that they effectively transmit and consolidate knowledge, particularly when the Information Visualisation literacy of the audience is unknown. Applying a Research through Design approach, this article describes a meta-process: the reflective and iterative path that led to the definition of DDENSO, a replicable design methodology for creating and evaluating Information Visualisations that allow for knowledge retention. Grounded in prior theoretical and practical experience in Information Design, DDENSO emerged through the development of the artefacts for a MIL exhibition exploring the social implications of Artificial Intelligence. It is structured around what we call Knowledge Objectives which, we argue, can contribute to the broader debate on Information Design as a critical tool for transmitting knowledge that sticks, by integrating evaluation as a core element of the design process.

Climate change, an urgent threat to millions of lives, requires collective efforts to advance a low-carbon transition. In particular, as future citizens, adolescents play a key role in shaping a low-carbon future. To understand how their potential can be supported, this study examines how design, particularly through human-computer interaction as a technology-mediated approach, can encourage adolescents to adopt low-carbon behavior. To do so, a formative study was conducted. First, we conducted a survey to understand adolescents’ cognitive levels and behavioral characteristics. Findings from this stage reveal that adolescents’ low-carbon behavior can be cultivated before a conscious understanding is established. Building on this, we organized a participatory design workshop where educators, designers, and adolescents co-created interaction-oriented design principles. These findings further highlight the need for a monitoring-feedback system, so we developed an initial wearable prototype to facilitate adolescents’ reflections on the environmental impact of their behavior.

Fast fashion accounts for continuous labor exploitation and 8-10% of global carbon emissions, perpetuating environmental degradation. Yet consumer awareness alone often fails to drive sustainable behavior. This systematic literature review aimed to understand how psychological and communication elements can be used to design an intervention capable of changing consumption behavior. Following PRISMA 2020 methodology, 103 peer-reviewed studies were analyzed from 1,384 papers retrieved across six academic databases. Three thematic strands emerged: sustainable consumer behavior and decision-making, visual and aesthetic influence on awareness, and artificial intelligence in engagement contexts. Findings reveal that consciousness alone is insufficient; interventions are suggested to combine construal level theory, emotional commitment through loss-framed messaging, and visually rich communication for effectively reducing psychological distance and fostering empathy toward sustainability issues. The review identifies significant potential in incorporating AI-generated art that could provide dynamic and contextually relevant experiences to encourage reflection and promote more sustainable consumption patterns.

The way consumers buy, care for, and discard their furniture reveals complex motivations that extend beyond cost and function. This paper examines the connection between consumer values, emotional attachment, and discard practices in determining the lifespan of furniture. Drawing on data from a mixed-methods approach that uses a survey, ethnographic observations, and object interviews, it analyses how consumers negotiate repair, justify replacement, and assign value to objects. It is argued that furniture consumption cannot be reduced to personal preference and market availability. Instead, it is influenced by cultural norms, consumer mobility, and access to durable goods. This paper proposes design strategies for extending furniture lifetimes and challenges fast consumption. In an age of disposability, what we choose to keep or discard reveals as much about society as about our homes.

Design for sustainability transitions is an emerging field within design for sustainability that aims to provide guidelines and strategies to generate systemic change in society, mostly at the socio-technical system level. Nevertheless, some limitations of current approaches have been pointed out by scholars, including their market-centered perspective and the vague definition of the sustainability visions adopted. To overcome these limitations, a shift towards a heterodox economic perspective is needed. Such a shift could help define new goals for design – satisfying fundamental human needs – through an integrative vision of humans within their environment. The city scale appears particularly appropriate for this purpose. In this paper, a conceptual framework is presented, based on the provisioning systems heuristic model and the integration of the milieu (Umwelt) approach, to re-think our relations with non-humans.

This study supports the shift towards more sustainable industrial design sketch modelling (the making of expressive models for problem solving) by detailing the material needs and sustainability concerns that result from the practice’s disposable nature. This transition also provides another opportunity to embed sustainable thinking throughout industry, as sketch modelling is taught early in a designer’s education. This study is centred around an overview of the literature on the roles and life cycles of commonly associated materials, with a focus on paper derivatives, polystyrene and polyurethane foam. The polymer foams, in particular, can result in widespread environmental harm, from their petroleum-derived production to the generation of microplastic dust during modelling. Beyond emphasising that future material recommendations should be more specific, such as suggesting “fully recycled unbleached paper” instead of just “paper”, more specialised environmental data is needed alongside presenting it in a way that best supports design practitioners and educators.

While academic research on design for sustainability and design for subjective well-being has grown for decades, application of these perspectives in professional practice remains underdeveloped. Professional designers often struggle to translate these objectives into their work due to conflicting demands, including tight project timelines, cost targets, and manufacturing constraints. Tools and methods developed in academic contexts have faced criticism for failing to consider these practical concerns, resulting in limited professional adoption. Studies indicate professional designers could benefit from concrete case-studies for existing products and systems that clearly demonstrate both processes and outcomes. This paper addresses this need through an artifact-analysis approach, developing case-studies of twelve existing design solutions that have yielded positive sustainability and well-being outcomes. Although not necessarily core drivers of the original projects, our systematic analysis and resulting design guidelines provide clear, concrete direction for designers seeking to create more responsible products and systems in their practices.

Ecosystems are not computers. They are alive, endlessly complex, and deeply intriguing. What if the data systems used to better understand living worlds could embed this more-than-human vitality? This paper examines ecosystem data tools in corporate sustainability, where AI tools have become key mediators in sustainable transitions. Drawing on desk research and empirical data with biodiversity specialists at 13 large corporations, it identifies four tensions that reveal deeper mismatches between computational systems and ecological worlds. These arise between demands for certainty and the unstable dynamics of ecosystems; between the need for data as neutral evidence and as arguments towards managing corporate trade-offs; between LLMs as tools for synthesis and the continued necessity of human interpretation; and between functional tool aesthetics and the vital attachments needed for regenerative change. From these findings, the paper articulates a more-than-human design space aligned with ecological dynamics, meaning-making, technosymbiotic relations, and transformative corporate change.

European AI regulation (EU AI Act) has assumed that humans will remain in control of AI systems, thanks to human-machine interfaces and a stop button (Art. 14 of the EU AI Act) as two separate static entities. This ontological blindness in legal institutions leads to a problem of making illusory mechanisms through which people relate to the more-than-human agency of AI systems, foreclosing any possibility of coexistence. Against this context, somaesthetic and affective interaction design practices can offer new possibilities of inter-relations between the more-than-human AI-data operations and the human and social institutions’ fixations on representations. This paper provides an empirical reflection on an artistic installation that, through diffracting data practices, turns a space of control into one of encounter. By taking AI oversight to be more-than-human from a soma design approach, we move from the constrained and narrow “human-in-the-loop” to “body-is-the-loop,” opening possibilities for mattering differently.

Smart city data infrastructures largely reinforce anthropocentric paradigms, neglecting the entangled relationships that shape more-than-human worlds. This paper explores synthetic data as a transformative tool to address these omissions, offering alternative ways to represent missing non-human perspectives. Through a research-through-design approach, we present Kin Bank: a speculative interface that uses synthetic data to generate poetic, transactional representations between human and non-human actors. Adopting the metaphor of a shared bank account, the system foregrounds ecological and financial interdependencies while challenging reductionist data practices. Findings from a user study show how synthetic data can surface unseen relationships, embrace ecological complexity, and provoke critical reflection. Rather than prediction, synthetic data is used as a speculative medium to produce “productive uncertainty” and foster new ways of understanding more-than-human entanglements. We argue that speculative design powered by synthetic data offers a pathway toward more inclusive, relational, and imaginative representations of urban ecologies and regenerative futures.

In an era shaped by autonomous systems, designers increasingly confront

a central question: how should responsibility and decision-making be distributed

when environmental action is partially delegated to algorithms? This article

explores how AI infrastructures in marine environmental operations reshape

relations between human intention, machine autonomy, and ecological care.

Drawing on posthuman design theory, Actor–Network Theory, and explainable AI,

the study proposes an Ethics of Autonomy framework that positions design as a

mediator between human oversight and algorithmic agency. Using a case-informed

analysis of three marine robotic systems—FloatyBoats (coral restoration),

Seaswarm (oil spill mitigation), and the autonomous surface vessel Vatoz (marine

waste collection), the paper illustrates how sensing, feedback loops, and adaptive

control enable autonomous systems to move from environmental monitoring

toward ecological intervention. The study argues that responsible innovation in

autonomous environmental technologies requires systems that are interpretable,

accountable, and embedded within transparent algorithmic decision-making

infrastructures supporting ecological responsibility.

This article argues for planetarizing artificial intelligence (AI) by re-situating its development within the terrestrial ecologies that sustain it. While dominant imaginaries frame AI as an immaterial and global technology, its infrastructures depend on geological, energetic, and social processes rooted in specific territories. Drawing on fieldwork in Penco, southern Chile—where a rare-earth mining project has sparked a complex socio-environmental controversy—we present Bajo nuestros pies, a research-creation project that develops a terrestrial cartography of AI. We propose two core operations for grounding AI: diplomacy, understood as cultivating sensitive encounters between heterogeneous temporalities and more-than-human agencies; and relationality, which interweaves geological, industrial, ecological, and social scales into a shared spatial narrative. Through these operations, our cartography exposes how the minerals enabling advanced computational systems emerge from contested ecologies and lived territories. We argue that such methods activateplanetary forms of attention, opening pathways toward a more situated and earth-oriented understanding of AI.

Circular economy planning for the built environment is a wicked problem: data are fragmented, tools are siloed, and the goals of material reuse are contested. Those aspects collectively contribute to generating systemic barriers towards circular economy transition. This study targets this challenge by proposing the Circular City Twin as a conceptual open system-of-systems that enables shared inquiry and collaborative action between city and building scales. Drawing on second-order cybernetics and meta-design principles, the Circular City Twin acts as an architectural interface: a modular, scalable, extensible digital infrastructure that integrates cadastral data, parametric BIM generation, and semantic models to deliver high-granularity information flows about building components and their circularity- and environmental- metrics. We outline proposed artefacts such as a Revit plug-in, parametric workflows, and a modular ontology to illustrate how a designed platform can shift practice from isolated modeling to feedback-driven co-design, supporting systemic circular transitions across spatial scales and domains.

To remain effective in an era of technological flux and AI-driven tools, architects must continuously expand their knowledge base. Architectural research and education must evolve alongside these digital transitions to secure legitimacy and funding within academic institutions. This paper asks how the architectural design research community can self-manage in response to these changes. Using the lens of Strategic Niche Management (SNM), we examine how design research behaves as an emerging niche seeking to participate in broader academic regimes. We conducted a multi-stage review of the Design Research Society (DRS) Conference Biennale Series (2002–2024), involving a quantitative analysis of over 2,000 papers and a systematic deductive qualitative review of 71 selected contributions. Our findings: 1) visualize longitudinal design research trends; 2) identify eight key approaches categorized into the SNM pillars of expectations, social networking, and learning; and 3) discuss strategic directions for architectural design researchers to manage digital transitions.

In recent years, co-creation has become common in design and healthcare contexts. This paper examines a co-creation process aimed at creating a physical link between a museum park and a child and adolescent psychiatric hospital. Whereas the experiences of end-users are key in co-creation processes, only few studies analyse how research and design actors experience partaking in such process. Therefore, we aim to unravel how a co-creation process is perceived by the various actors involved to ultimately foster improved understanding and collaboration and formulate recommendations for future projects. Through a focused collective autoethnographic approach, we explore the experiences of all actors. This results in insights into how commitment, engagement, and added value relate and differ in actors’ perception. We methodologically discuss and critically reflect on these insights in the context design and social research to conclude with what this research brings to future co-creation processes.

Diagrams have long been central to architectural reasoning and communication. While their historical and conceptual roles are established, the impact of digitization on their function and representation is underexplored. This study systematically analyzes 245 diagrams from 45 architectural graphics publications between 1980-2025, classifying them by design stage, representation technique, production method, and purpose. The dataset analysis reveals a transformation in published diagrams: while 1980s-1990s diagrams were characterized by being manually produced, exploratory diagrams in early-stage design, the 2000s onward saw almost total digital production, yet representational conventions remained 2D. By the 2020s, diagrams shift toward external communication and coordination in later design stages, with conceptual and exploratory uses diminishing. The findings signal a cultural shift: diagrams in architectural literature now function less as cognitive tools and more as curated visual statements aimed at stakeholders. The study highlights the need for digital-native diagram practices and points to new ways of understanding their evolving role.

In research published in 1982, Mackinder & Marvin put forward their ‘continuum between written information and experience’ model for decision making in architectural practice. As part of a new research project, ethnographic methods were used to collect data on the detailed design processes adopted by early career architects in two medium sized UK architectural practices. This new data reveals that ‘The Continuum’ model still has relevance four decades later but, to reflect the specifics of detailed design, a wider range of actors need to be acknowledged. This network is established on a project-by-project basis with collaborators enrolled in an ad hoc way, some for the duration of the project and others for short periods before they are dropped. Based on these observations, a new ‘Network Model of Detailed Design Collaborators’ is proposed that situates early career architects within a collection of human and nonhuman collaborators.

This paper advances a decolonised understanding of care within design research by examining how relational and culturally grounded practices shape engagements with older adults in Thailand’s rapidly aging society. Drawing on the Monday Museum creative ageing initiative in Bangkok’s Khlong Bang Luang neighbourhood, the study critiques Western-centric framings of care that privilege clinical, individualised, or outcome-driven approaches. Fieldwork and co-design activities with elderly residents reveal that care emerges as a relational practice embedded in local cultural norms, expressed through attentiveness, reciprocity, and shared responsibility. The paper introduces “Familiness” as a Thai, culturally situated framework that embodies warmth, flexibility, and family-like connection, enabling trust-building and adaptive collaboration between designer researchers and participants. By foregrounding familiness as both ethical stance and methodological practice, the study contributes to decolonising design research and offers an alternative lens for understanding care in community-based, creative ageing contexts.

This study explores design opportunities to support postpartum mothers during “zuòyuèzi,” a culturally significant confinement practice in southern China, through the lens of home-based Internet of Things (IoT) systems. Grounded in feminist ethics of care, the research employs a three-phase methodology combining digital ethnography, co-design workshops, and thematic analysis. Participants from multigenerational households shared experiences and envisioned the roles of IoT systems to facilitate postpartum transitions. Findings reveal that users expect technologies to function as empathetic intermediaries that foster emotional well-being, facilitate caregiving management and negotiate relationships. Distinct patterns emerged across care distribution, interpersonal communication, and interaction, underscoring the cultural specificity of postpartum care and the importance of inclusive technology design. This work contributes to design research and feminist ethics of care by articulating how domestic technologies can be reimagined to support caregiving, family negotiation, and socio-technical intimacy in postpartum contexts.

This paper examines how care is enacted and understood within Remote Patient Monitoring (RPM) systems, which promise efficiency and autonomy but fragment care into data flows. Drawing on ethnographic fieldwork in a Dutch hospital’s RPM program for myocardial infarction patients, we analyze how stories, reassurance, and contextual interpretation unfold alongside structured data, revealing the promise and limits of AI-mediated care. Using narrative medicine’s triad of attention, representation, and affiliation, we identify how extractive data models overlook patients’ lived realities and relational dimensions of care. We propose three design provocations for exploring the application of AI in RPM systems: narrative layers which situate data within evolving stories, shared story construction which supports co-authored records, and temporal storytelling which captures care as an ongoing narrative. We argue narrativization is central and not supplementary to relational care, and position narrative medicine as a design lens for creating AI infrastructures that sustain human connection.

Voice loss after total laryngectomy disrupts identity and quality of life yet current assistive technologies reproduce techno-ableist assumptions, prioritizing speech mimicry over identity restoration while systematic marginalization excludes laryngectomees from research and innovation. This paper presents a care-centred participatory design agenda bridging a propositional approach “Singing Without a Larynx”, a vowel-based vocal interface for singing, with cross-cultural photovoice research in the United States and Argentina. Grounded in care ethics, we operationalize attentiveness, responsibility, and relational accountability, positioning participants as co-designers whose embodied knowledge shapes technological imaginaries, and community challenges and assets. We propose: (1) a critical framework integrating care ethics, disability justice, and political economy to challenge techno-ableism in AI voice design; (2) photovoice methodology adapted for HCI and assistive technology research, building advocacy structures alongside design knowledge; (3) preliminary design principles for voice interfaces that prioritize identity restoration and creative agency, to be validated through participatory research.

This paper explores and unpacks aspects of relationality by examining design engagements in a Swedish municipal care setting. Our exploration of relational perspectives on homecare is grounded in home care workers’ (HCWs) use of a workday scheduling and planning app. This paper presents empirical data generated through interviews and participatory observations, and identifies three themes: Manifesting relationality, Affectionating relationality and Tensioning relationality. Based on our understanding of relationality as it is developed in social care and design research, we discuss how relationality develops in everyday care, by juxtaposing this with real-life accounts of relational care. Then, we deliberate on the perspectives of designing care technology in relational care practices, such as homecare work. This paper concludes by emphasising the need for a greater acknowledgement of relationality in the design of future care technologies and suggests possible directions for further exploration.

This paper explores how ambiguity can function as a condition for care in participatory health design. Through patient-centred interviews and a participatory workshop, it examines how uncertainty and emergent understanding shape the relational and ethical dimensions of care. The study finds that ambiguity enables participants to remain responsive within unequal structures and to negotiate care through hesitation, metaphor, and embodied expression, highlighting how relational sensitivity operates within asymmetrical power relations. Care is reframed not as a stable act of giving, but as a social process of continual adjustment and mutual dependency. By embracing indeterminacy in design practice, this research shows how ambiguity sustains fragile relations of trust and reciprocity. It argues that care persists not through clarity but through a willingness to dwell with what is uncertain. The paper contributes to ongoing design discourses that view care as a situated, negotiated, and collective practice.

This paper reclaims the role of design as a practice of meaning-making within human–ecological systems. While meaning has always been part of design discourse, successive turns – semiotic, experiential, relational – have addressed what meaning is without asking why living systems make meaning at all. Drawing on recent advances in neuroscience, biosemiotics and code biology, it argues that meaning-making is not a cognitive phenomenon unique to humans but a regulatory process intrinsic to living systems. Code Ecologies offers a philosophical framework that reinterprets the biosphere, technosphere and semiosphere as interdependent ecologies of codes, resonant with relational and Indigenous cosmologies. The paper locates design's agency within the semiosphere, where meaning systems, values and legitimacy are formed, distorted or repaired. When these codes lose alignment, both social and ecological systems falter; design intervention in the ecology of meaning thus becomes a form of regenerative semiotic agency and a precondition for ecological renewal.

As artificial intelligence evolves into ambient, distributed systems, design faces an ontological transformation. The traditional interface, once the visible boundary between humans and machines, is dissolving, giving rise to new modes of intuitive, sensory, and relational interaction. This paper argues for a shift from interface to intuition, where design no longer mediates through visual representation but orchestrates subtle ecologies of perception and awareness. Drawing on design philosophy and posthuman theory, it explores how AI redefines core categories of form, presence, and authorship, suggesting that meaning now emerges through attunement rather than control. In this post-visual paradigm, designers act as mediators of resonance between human and non-human intelligences, cultivating shared fields of cognition and emotion. Ultimately, the study proposes an expanded ontology of design, no longer centered on objects or images, but on relationships, sensitivity, and the ethics of coexistence in the age of ambient intelligence.

Building on the German philosopher Heidegger, design philosophy has historically dealt with handiness (zuhandenheit/vorhandenheit) as an ontological relationship between an individual, a technology, and an artificial world. Such handiness conceptualization does not account for the social accumulation of work necessary to bring technology ready-to-specific-hands. Building on the work of Brazilian philosopher Vieira Pinto, this investigation foregrounds the collective aspect of handiness to account for the articulation work behind a new design philosophy program, prospective design. This program embraces philosophy through design; therefore, this investigation includes a description of a stakeholder mapping workshop in which serious play was used to develop the prospective design program's collective handiness, both in theory and in practice. By mapping who is “at-hand” (and who is not) for this program's ends, the collective body of researchers realized their fundamental relationship with their world.

“We have never been modern” wrote Bruno Latour, proposing that the dualism between nature and society has represented a convenient fiction. If humans have never genuinely stood apart, what happens to one of its most anthropocentric fabrications, citizenship? Conventionally a marker of political agency, citizenship determines who can speak, act, and belong. This conceptualisation excludes the multiple more-than-human agents shaping collective experiences. Building upon Plessner’s concept of positionality, the paper introduces “Positional Citizenship” to transcend the Cartesian divide between humans and more-than-humans, reshaping the political as a relational space of co-presence. Building on this shift, design becomes a practice of relational reconfiguration, making these distributed agencies visible and actionable. This paper outlines mechanisms facilitating this transformation: unlearning Western ontologies of mastery; integrating indigenous epistemologies of interdependence; recognising non-human entities as agents; cultivating material ethics and care; translating institutional and infrastructural assemblages; and working within interstitial ecologies where hybrid forms emerge.

This paper introduces the lustre of hands—a term used to describe the gentle, subtle sheen that appears on things through long and caring contact with human hands. This concept challenges the visual paradigm and the pursuit of the new in contemporary design. It suggests that the traces of touch and time embody care, continuity, and human presence. Illustrated through the author’s example of a family inkstone, whose surface bears the lustre accumulated over generations, it offers design a powerful perspective: to appreciate the marks left by time and use to make things more fully used rather than wasted; to give greater value to the tactile; and to reflect on the relationships between design, making, and use—toward a more sustainable and inclusive society.

This paper examines how design is conceptualised within design and policy literature in public-sector contexts, contributing to the expanding discourse on design for policy. Despite the growing adoption of design approaches in governance, robust evidence of their contribution remains limited. Using a qualitative meta-synthesis of 24 publications spanning design studies, policy design, and public administration, the study identifies four interrelated logics through which design is conceptualised in policymaking: systems learning and reflexivity; legitimacy and relational effectiveness; structuring and coherence; and adaptation and delivery. These logics are reframed as epistemic, relational, systemic, and operational dimensions of contributive capacity that describe how design may strengthen policymaking across micro-, meso-, and macro-levels. The study proposes a preliminary multi-level conceptual framework to guide future research, acknowledging that while design is increasingly integrated in policymaking practice, systematic evidence of its contribution remains limited.

The prowess of design to reframe complex sociotechnical issues has made it appealing for tackling wicked problems faced by the public sector. Effective reframing requires an understanding of the problem frames in use and their shortcomings to avoid past mistakes. Literature on this groundwork for reframing is sparse. To address this gap, we report a case study on assisting migrants’ awareness of public services, involving interviews with service coordinators working in a Finnish municipality and migrants, and a co-design workshop to surface assumedly problematic frames. We then concretized the frames through an investigation of solution artifacts, encompassing in-person services, websites, and print materials. Findings highlight an overemphasis on information aggregation, excessive design efforts, limited provision of meta-information, and a lack of resources integrated into everyday life. We demonstrate how so-called Frame Excavation can be conducted in complex contexts, such as the public sector, sparking discussion on challenges and best practices.

Using Fayetteville, Arkansas, as a primary case study, this paper frames city council meetings as dynamic systems of discourse, where a citizen’s ability to contribute is shaped by the design of institutional environments and mediating artifacts. Drawing on field studies and participatory design methods, the author dissects how the design of such meetings supports and hinders equitable participation. To address these challenges, the author turns to another structured form of discourse: the design critique. Contemporary critique practices offer participatory frameworks for exchanging feedback that redistribute power and invite diverse perspectives. Building on these parallels, the author prototypes a critique-inspired, multimodal system of design interventions that add flexible, informal, and asynchronous channels for citizen engagement. While grounded in a U.S. municipal context, the resulting framework proposes adaptable methods for enhancing participatory governance and transparent citizen–government communication across public sector settings globally.

Universities are increasingly recognised as laboratories for socio-ecological transition, yet higher education sustainability frameworks in France remain largely managerial, privileging compliance and infrastructure over participation. This paper examines how three national and regional instruments, including the Plan Climat–Biodiversité, the Note de cadrage TEDS, and the SRESRI 2021–2027, are translated into governance practices within two university campus ecosystems in the Pays de la Loire region: Chantrerie (Nantes) and Belle-Beille (Angers). Adopting a systemic design perspective, the study conceptualises governance as a process mediated through design practices involving feedback, coordination, and institutional learning. Through a comparative analysis of these models, it identifies gaps in stakeholder participation and proposes design-supported mechanisms for regenerative governance. By bridging sociological theories of bureaucracy with systemic design and sustainability research, the paper positions universities as meso-level laboratories that translate transition missions into inclusive, reflexive, and regenerative institutional cultures.

This paper examines why design practitioners experience tensions when ap-plying systemic design approaches within policy contexts. Drawing on Bekkers’ four analytical perspectives (rational, political, cultural, and institutional), we reinterpret the systemic design activities to reveal how each perspective places distinct, and at times conflicting, demands on design processes. By comparing the lenses across the dimensions of principles, framing, validity, appropriateness, and embedding, we develop a theoretical framework to shed light on how these tensions emerge. The framework also shows that each perspective puts different demands on a design process in the policy context. The framework helps both designers and policy professionals under-stand their own normative positioning, recognize competing logics, and iden-tify pathways to navigate complexity when collaborating on transformative so-cietal challenges.

Enquête d’âme is an interactive installation and research instrument that reimagines design impact assessment by shifting from affect detection to wellbeing articulation. A textile-covered keyboard allows participants to select from sixteen wellbeing dimensions; each input generates a coloured circle within a shared projection, forming an evolving visualisation of collective resonance. Three public deployments—a cultural event, arts festival, and university showcase—combined observations, brief interviews, and log analysis. Findings show that slow, tactile interaction fosters mindful engagement; participants treat the dimensions as reflective anchors rather than diagnostic labels; and aggregate patterns vary contextually (e.g., Optimism/Future-self in policy discussions, Playfulness/Participation in festival settings). The paper contributes: (1) an embodied method for participatory wellbeing visualisation; (2) a mixed-methods instrument coupling expressive self-report with analysable traces; and (3) a visual grammar that supports empathic, plural sense-making as an alternative model of design impact.

This paper develops a multi-scalar indicator framework that bridges macro sustainability goals with the realities of historic district regeneration, focusing on the Laomendong Historic District in Nanjing, Jiangsu, China. The study translates top-down policies into meso to micro level design indicators that capture the spatial, social, and cultural dimensions of sustainability. Using a mixed-methodology approach, it combines policy content analysis to identify macro-narratives with grounded theory-based social media analysis to reveal bottom-up perceptions and everyday experiences. The resulting framework demonstrates how sustainable design can move beyond macroeconomic and environmental metrics, embracing a broader range of considerations. Findings suggest that while macro agendas emphasize economic growth and climate resilience, true sustainability emerges through micro-scale practices, inclusive public spaces, walkability, participatory management, and daily ecological behaviors. This study redefines design impact assessment as a context-sensitive, people-centered process.

Cultural institutions frequently use design to help audiences engage with scientific knowledge and understand environmental crises, yet evaluating design’s impact remains challenging. Existing frameworks focus on audience learning, demonstrated through feedback surveys, but such frameworks overlook how designers, scientists, museum staff, visitors and non-humans co-shape engagement and impact. This paper discusses the significance of distributed impact, and tests methods for evaluating how impact is distributed across stakeholders in a museum environment. The case study details a Museum-Lates event using experimental experience design to engage audiences with coral conservation. Using multi-method data collection across different stages of event production, we trace how moments of curiosity, collaborative making and contemplative sensorial encounters emerge and propagate. We propose a metaphorical Seeds of Care framework to conceptualise relational impacts in museum settings. We suggest design and evaluation strategies by mapping how reflections on more-than-human care are carried among stakeholders, supporting engagement with ecological conservation.

Design practitioners and educators play an important role in advancing inclusive societies. However, the impact of educational initiatives aimed at cultivating inclusive thinking and behaviour among designers remains underexamined. We address this gap by reporting phase 1 of a scale-development study to measure inclusive mindset, knowledge, and behaviour in design and engineering education. Building on the Inclusive Mindset Model, the study operationalises inclusivity into three scales and presents the initial item pool developed through item generation and content validation. Following established scale-development procedures, items were refined through feedback from six expert judges and eight engineering students, resulting in an initial pool of 95 items across the three scales. By positioning inclusivity as an assessable dimension, this work contributes to plural, multidimensional approaches to design impact assessment. This preliminary study provides a foundation for future psychometric validation and offers new possibilities for reflective learning and curriculum evaluation in design education.

While participatory design approaches such as co-creation and co-design are increasingly used to develop circular solutions, there are limited contributions on assessing their impact. This paper systematically reviews and compares fourteen existing evaluation frameworks and models for collaborative design approaches across domains such as public health, social innovation and energy transition. Through a systematic literature review and comparative analysis, the study examines how impact is conceptualised and assessed, the extent to which existing approaches are operationalised, and their applicability to circular transition contexts. Results show that most frameworks do not explicitly define or evaluate impact, offer limited operational guidance, and only partially address key dimensions relevant to circular transitions, such as multi-level and long-term effects. These gaps highlight the need for evaluation approaches that are both adaptable to the situated nature of co-creation and sufficiently rigorous to capture its contribution to circular transitions.

As speech technologies make rapid strides, facilitating multi-tasking, workflow automation, and cross-cultural collaboration, attention to the adverse effects of such technologies (e.g., legacy bias and inequities) continues to lag, exposing the need for non-designers, such as speech scientists and technologists, to critically assess the ethical implications of their work. In this paper, we present the art-based futuring methods used in a speech technology summer school we co-organized for guiding students in exploring the unintended consequences of speech technology outputs. By sharing our methods and pedagogical insights, we aim to help educators promote discussions on themes like fairness and inclusivity and equip students with skills for defining their own ethical positions and processes for making socially responsible R&D decisions. We show how a combination of scenario building and collaborative manifesto writing can stimulate moral imagination and promote more reflective and responsible R&D practices.

Design for health (D4H) has emerged as its own context for practice, with a corresponding rise in universities offering courses and activities that implement D4H projects in various ways. For the most part, these tend to expose design students to health-related contexts and problems or facilitate interdisciplinary collaborative opportunities. This paper presents an overview of 10 years of D4H curriculum interventions in undergraduate and postgraduate teaching. This culminated in the justification and development of a four-paper D4H minor as a strategic offering within a Bachelor of Design programme. The paper presents the theoretical and practical underpinnings of the D4H minor, shows how the new minor supports the staircasing of student learning and provides examples of student work from the first cohorts. The D4H minor positions “design for health” as a strategic curriculum innovation to help students apply creative, practical, problem-solving skills to complex problems.

This paper explores a pedagogical intervention that leveraged speculative enactment as a portal to utopian futures. During a Blended Intensive Program, students were presented with a design challenge that addresses workplace inclusion by reimagining it as a “future otherwise.” The challenge was projected into a future temporality, allowing participants to respond to contemporary challenges with radical imagination. Drawing on Levitas’s (2013) utopia as method and Bloch’s (1986) notion of concrete utopias, this study investigates how engaging with these enacted visions as sensorial expression serves as a mechanism to unleash potentialities latent in the present. Situated at the intersection of Design Futures, Education Research, and Utopian practices, the paper also draws from research on “futurelessness,” the sense that the future no longer holds personal or collective promise. The “enacting micro-utopias” intervention, performed in a higher education context, is shown to help cultivate open-ended futures and plural imaginations.

Design education is increasingly engaging with global challenges that extend beyond its traditional scope. This study adopts a constellation perspective to explore leadership as a pluralistic, relational, and interpretive practice suited to navigating complexity. A selective literature review spanning 25 years across design education, leadership, management, and research reveals six key provocations: systemic disruption, institutional constraints, commercial pressures, universalising narratives, dominant Western paradigms, and limited critical engagement. These highlight tensions that shape contemporary leadership discourse. The findings invite reflection on leadership as a capacity-building process, one that encourages abductive reasoning, material inquiry, evidentiary thinking, financial awareness, and ethical reflection through situated practice. The paper offers an alternative way of looking at how we might lead better; it is both propositional and a provocation. Leadership is framed as a practice rooted in care, judgment, and epistemic integrity, read across rather than reduced to any single model.

Design education increasingly unfolds across studio, city and digital platforms, yet these environments are rarely orchestrated as coherent learning ecologies. This paper presents Territorial Quest, a location-aware, game-based activity embedded in a master’s level systemic and service design studio. The intervention turns urban exploration into a structured, data-driven process: student teams investigate different neighbourhoods, collect and categorise contextual data through shared digital tools, and participate in a lightweight scoring system that makes fieldwork visible and comparable. Using a research-through-design and design-based approach, the study combines questionnaires, digital trace data and qualitative feedback to examine how Territorial Quest shapes learning. Findings indicate that the activity supports more continuous and systematic fieldwork, strengthens team collaboration and fosters territorial awareness, while also surfacing tensions around competition, data quality and fairness. The paper discusses Territorial Quest as a phygital learning ecology for rehearsing public design capabilities and outlines design implications for public-oriented curricula.

This study explores how teaching service design through Product-Service System projects can encourage reflective sociomaterialist learning for Design for Sustainability in the Global South. It analyses 22 Product-Service Systems projects by undergraduate students at a Thai design school to examine how design education, aligned with Thailand’s bio-circular-green (BCG) economy initiative, helps develop students as social agents who drive sustainable innovation. Using ethnographic action research and thematic analysis, six case vignettes illustrate how participatory design methods and systems thinking in Product-Service Systems projects empower students to build sociotechnical systems and offer localized, community-centered solutions. Findings show that integrating Product-Service Systems practices into service design education supports systemic innovation and policy-oriented learning in developing economies. The research advances design theory by linking sociomaterialist approaches, sustainability education, and innovation policy within the Global South context.

As large language models (LLMs) become increasingly integrated into cultural heritage research, practices such as artifact reconstruction, content generation, and virtual restoration are rapidly advancing. Generative artificial intelligence is unlocking new narrative potential for jiandu (bamboo and wooden slips), offering innovative approaches to cultural expression and historical reconstruction. However, general-purpose language models often face limitations in domain knowledge and semantic reliability, making it difficult to ensure accuracy and traceability in jiandu-based generation. To address these challenges, this study proposes a virtual restoration framework for jiandu narratives based on Retrieval-Augmented Generation (RAG) and agent mechanisms. Using the Liye Qin slips as a case study, the LIYE-Agent system integrates structured knowledge, semantic retrieval, and task-oriented generation to achieve coherent scene reconstruction. Findings from discipline-informed participant evaluation demonstrate its effectiveness in enhancing generative accuracy and consistency, providing methodological and technical support for generative narrative design and the digital dissemination of cultural heritage.

Research on generative artificial intelligence (GenAI) in cultural design has primarily focused on generative control and creative efficiency, often overlooking the misalignment between AI task definition and cultural creation. This study explores how GenAI can be culturally adapted within traditional pattern-making practices. Using an ethnographically informed generative probe, field experiments were conducted in the Huayao cross-stitch community, which practices a form of Chinese intangible cultural heritage. The findings reveal how cultural practitioners negotiate creative logic and cultural judgment when collaborating with AI, identifying four key orientations: liveliness, locality, creation-in-progress, and community creativity. Building on these insights, the paper redefines AI’s role as a generative reflexive actor and introduces the perspective of Culturally Situated Task Definition (CSTD) to explain how cultural tasks are redefined through the mutual shaping of technology and practice, advancing an understanding of the mechanisms underlying AI’s cultural adaptation and meaning co-construction.

The centrality of modernist and institution-centred narratives has narrowed the scope of Brazilian graphic design throughout history, limiting its cultural and epistemological diversity. This article explores the value of researching graphic artefacts normally understood as not pertinent to design research, focusing on album covers from the Brazilian rock scene of the 1980s. Based on the formation of an archive of 155 covers, this study emphasizes the need for appropriate methods to analyse mass-culture artefacts whose wide circulation shapes collective design practices and visual imaginaries. By reflecting on the criteria of selection, interpretation, and preservation that determine what is collected, analysed, and preserved (or ignored), this paper advocates for the establishment of more plural, inclusive, and culturally situated collections. Expanding the scope of objects considered legitimate for design research has the potential to strengthen critical perspectives on the discourses that shape design history and to diversify the field’s reference framework.

Visual thinking, a foundation of design, is often framed as a reflective conversation between a designer and their medium. Recent advances in generative Artificial Intelligence and immersive technologies, such as Augmented and Virtual Reality, are profoundly reshaping this conversation. This article explores how these digital tools augment the visual design process, moving beyond traditional methods. Through a series of autoethnographic, practice-based examples, we demonstrate several key transformations, particularly: AI-driven dialogues that rapidly iterate within a visual language and translate across languages; embodied, spatial sketching in AR/VR that enables new forms of visuospatial reasoning; and novel methods for perspective-taking and collaboration in virtual spaces. By analyzing these new modes of interaction, we reveal significant opportunities, critical limitations, and the need for a critical digital-visual literacy. The article concludes by outlining future research directions and critically integrating these tools into design education and practice to augment individuals’ design thinking.

Generative AI tools such as ChatGPT and Vizcom can produce creative 2D images, however, their stylistic appearances remain difficult to control. This study proposes a design pathway based on LoRA fine-tuning technique. First, a fine-tuning model of Nike A.I.R. concept shoes and automotive surface styles were trained. Then, these two different vocabulary elements were combined and generatively tested to explore their feasibility in footwear design. The process included dataset preparation, parameter adjustment, generation testing, and VR 3D modeling. Results showed that this method can effectively generate innovative forms within a given framework, making it particularly suitable for early design exploration. In addition, by adjusting the weights of the fine-tuning model and using the VR design software Gravity Sketch, designers can effectively control the proportions of the generated image elements, enhancing the control and creativity of AI-assisted footwear design.

As professional collaboration increasingly shifts to digital and asynchronous modes, workers use collaboration technologies not only to coordinate tasks but also to manage their professional visibility and reputation. To examine how these practices could evolve as AI becomes more embedded in the collaboration environment, a speculative design approach was adopted to make near-future scenarios experiential. We prototyped speculative AI systems that support visibility through employee self-report reflection, performance scoring, AI-enhanced meeting appearance, communication delegation, and AI-use disclosure as probes for a series of immersive and interactive scenario-based interviews. The findings uncover selective disclosure of AI use to manage professional image, conditional trust in delegating self-representation to AI, attempts to manipulate AI evaluation, and stress resulting from continuous assessment. We contribute (1) empirical insights about potential AI-mediated visibility practices, and (2) design recommendations for collaboration technologies to support control, authenticity, and healthy visibility practices in AI-powered professional environments.

Steering sustainability transitions in complex organizations, such as hospitals, may benefit from iterative, situated, and participatory experimentation. Co-creation holds particular promise in this regard, acting as a “pebble” in the system that generates ripple effects towards sustainable change. However, its implications and methodologies within hospital systems, especially those grounded in design practice, remain underexplored. This paper investigates designerly co-creation through seven medical device design projects conducted by master’s students in collaboration with healthcare professionals. Drawing on observations of co-creation processes and 14 interviews, the study identifies designerly co-creation as both an “incubation space” for sustainability innovations and a potential “catalyst for change” in staff behaviors, mindsets, competencies, and hospital procedures. The paper contributes to the growing body of knowledge on design for sustainability transitions by highlighting the evolving role of co-creation in steering change and generating impact within hospital contexts.

This study investigates how adaptive reuse servicescapes may contribute to sustainable transformation through learning, by leveraging circular practices as experiential learning tools. Research on circular economy rarely adopts a human-centred lens or explores its links to learning, especially in the Global South, where the value of alternative epistemologies and informal economies often remains unrecognised. To address this gap, a qualitative case study approach was employed, combining participant observation and semi-structured interviews at educational initiatives in an adaptive reuse precinct in inner-city Johannesburg, South Africa. The findings reveal a reciprocal relationship between education and circular practices in generating value for sustainable human development. The study positions adaptive reuse environments as facilitators of experiential learning, with the potential to foster inclusive, community-driven transformation and support sustainable livelihoods. Finally, the paper proposes an inclusive experiential learning model that integrates circular practices as both learning content and method.

Sustainability problems are complex and overwhelming, with terms like eco-anxiety now commonplace. Sustaining engagement therefore requires attention beyond systemic levers towards relational, social, and emotional dimensions. This paper explores play as a participatory tool to foster wellbeing, maintain engagement and reframe environmental action. Play is known to support healthy development, reduce stress, and connect socially as an antidote to fatiguing emotions. Research has additionally explored play’s transformative potential to disrupt existing structures and imaginaries. This study examines how play can be leveraged to support more inclusive and emotionally sustainable engagement with environmental action. Using a participatory research-through-design process (Situated Play Design), this research contributes: (1) Play potentials - relational spaces where playfulness naturally occurs in environmental action; (2) A co-created speculative interventions catalogue, illustrating how these play potentials might be designed for to reimagine environmental action. These contributions support regenerative, joyful environmentalism, recognising playfulness as a legitimate mode of participation.

Existing attitudes to waste in sustainable design treat it as a quantity to be minimized: reduced, reused, or recycled. However, according to the field of Discard Studies, waste, and the act of wasting, are shaped by wider social, political, and material systems of interest to design (Liboiron & Lepawsky, 2022), therefore working with waste can have broader implications for design practice. We introduce the principles and methods of Discard Studies, through a report on the participatory project "L'Arxiu de Rastres Tecnològics de Vic", carried out in Vic, Catalonia, in autumn 2025. The project used Discard Studies methods to encourage participants to reflect on the lives and afterlives of their digital waste through speculative practice, and to imagine more regenerative futures for their discarded devices. We close with conclusions on how an attention to waste, informed by Discard Studies, might be useful to design practice more generally.

Relational design practices, grounded in the collaboration among local producers, public institutions, and designers, have strengthened cultural identity and promoted new forms of economy based on values of sustainability and belonging. This article presents the development of a gastronomic festival as a living laboratory of transformation, carried out in the municipality of São Gonçalo do Rio Abaixo, Brazil, by the Design, Territory, and Gastronomy extension project of the Federal University of Minas Gerais (UFMG). Based on the theories of relational design and design for transitions, the study highlights how design mediates local tensions, overcomes institutional challenges, and helps the reconstruction of symbolic bonds. It argues that relational design, when practiced in a situated and participatory way, constitutes an agent capable of supporting ethical, sustainable, and plural processes of collective transformation.

Cities are physical manifestations of how we live together in urgent need of redesign to adapt and respond to impacts of climate change. Place-based methods offer critical and imaginative ways to work with neighbourhoods as living labs for regenerative futures and planetary civics. Reworlding explores urban play as method in co-governance of the green transition of neighbourhoods. It works with posthuman methods to give nature a voice, supporting more-than-human approaches, and addressing climate, biodiversity, and pollution challenges. Play and democracy balance interests, power, and knowledge asymmetries among neighbourhood actors by engaging cultural actors and use local, indigenous, or marginalised knowledge in regenerative design. This paper maps urban LARP (Live Action Role-Play) as intersectional and interdisciplinary method for connecting neighbourhoods and communities to play futures together by experiencing, testing, imagining, and negotiating regenerative design in relation to place, working with Reworlding City North, a two-day urban LARP as a case study.

Citizen science and citizen data are widely used to engage with anthropogenic effects such as pollution and species loss. However, their focus on data gathering and objectivization can result in dispassionate learning. Futures scaffolding offers an alternative design approach that reimagines how environmental knowledge can be generated, experienced, and materialized. Positioned within co-speculative design, this practice uses design methods to make visible what data represents and to cultivate ocean futures. This paper mobilizes a workshop kit called Monsters of Marine Debris (MMD) as an object of design to illustrate futures scaffolding. MMD makes data a source of futures-making rather than a goal of community engagement. Participants engage in embedded, embodied, and emergent processes that spark entangled, more-than-human thinking about anthropocentric marine debris (AMD). By applying futures scaffolding, MMD reframes citizen data as a generative design material that supports relational, affective, and imaginative engagements with environmental futures.

Although underwater soundscapes of urban rivers are understudied, they can reveal urban and biological processes across multiple scales. We present a case study of the Charles River’s underwater soundscapes in Boston, Massachusetts. We approach underwater acoustic sensing as a method to attune to infrastructural, non-human, and environmental dynamics. Given that water is an ideal medium for sound propagation, the river becomes a magnifier for ignored aspects of the city, such as the urban infrastructure’s impact on the river's soundscape or aquatic fauna activity. In the sensing process, the river’s underwater environment becomes a space where human, more-than-human, environmental, and infrastructural actors converge, shaping what is audible and recordable. Based on fieldwork observations of organisms dwelling on the sensing device, we reflect on the device’s influence on the environment and speculate about possible sensor-organism interactions. This highlights underwater acoustic sensing as a method to produce data in interaction with the environment.

This paper critically examines how contemporary data design logics reframe everyday objects and services as active instruments of measurement and knowledge production. Through a pedagogical experiment in [place name withheld] Square, we explore how student-designed data instruments capture ambiguous, affective, and more-than-human aspects of experience that conventional instrumentation obscures. Drawing on Barad’s agential realism and Lupi’s Data Humanism, our iterative approach reveals that artifacts co-constitute what becomes knowable, making visible the entanglement of bodies, materials, and environments in data production. As students encountered material resistance, breakdown, and multispecies interaction, they developed “instrumental consciousness,” recognising artifact agency and their own complicity in datafication. We argue that enabling designers to make and deploy instruments transforms abstract critiques of data economies into tangible, ethical encounters, fundamentally shifting design responsibility. This work repositions making-as-research as a critical method for interrogating how instruments shape experience, participation, and exclusion in data-driven environments.

The term “plant awareness disparity” describes a tendency to overlook plants in the environment leading us to underestimate their significance in ecological systems. In this paper, we explore plant biographies as a participatory narrative method that aims to leverage new modes of relating to plants. The method consists of introducing people to the history of seasonal changes experienced by the plant, inviting them to locate and attune to its present condition, and finally writing a short biography about the plant. The interaction was tested with visitors of a botanic garden, who were invited to engage with two individual Rhododendron plants, supported by an audio guide and visualisations of seasonal behavioural data. In response to the task, participants adopted first-person narratives, drawing on empathy, and reflecting on the plant’s temporal and relational context. We reflect on how the approach can be used to nurture more plant-centric understandings in more-than-human design.

This paper explores self-tracking technologies through a more-than-human lens, focusing on the entanglements between protein consumption, urine monitoring, and environmental care. Using autoethnography, I reflect on the practices of measuring protein and nitrogen in urine as a means to interrogate how personal health data intersect with ecological concerns, particularly nitrogen runoff and its contribution to overfertilization of the Baltic Sea. The account highlights tensions between the precision promised by digital health apps and the uncertainty, messiness, and environmental costs of measuring itself. By mapping nitrogen metabolism across bodies, infrastructures, and the environment, the paper identifies potential points of intervention: dietary habits, public discourse, and wastewater treatment. This work positions self-tracking as a ritual of careful noticing that reveals blurred, leaky boundaries between body, infrastructure, and environment.

The ludic space exists both within and beyond reality as a parallel world. While play design has been explored through rules, experiences, and systems, the role of play materials as mediators between lived and ludic space remains under-discussed. This paper examines how play materials invite players into, operate within, and emerge from the ludic space, shaping gameplay and learning. Using a practice-based approach, the Between Worlds (BW) framework was developed and empirically grounded through classroom projects involving over 130 undergraduate students at BITS Design School. The framework identifies four qualities of play materials that enable transitions between lived and ludic space: player engagement, translation, functionality, and emergent outcomes. The study contributes to game-based learning and design pedagogy by repositioning play materials as active mediators of meaning-making, demonstrating how they can support participatory, generative learning experiences and deeper engagement with complex real-world systems.

This paper introduces transversal play as a material, experiential, and relational mode of playful inquiry and connection that traverses disciplinary, institutional, and cultural worlds in pedagogy and education. Drawing on design philosophical, posthumanist, and play theoretical perspectives, transversal play is framed as a situated, collaborative, and world-travelling practice of interbeing, where difference becomes a generative site for collective experimentation, care, and transformation. Through four design-based research examples, the paper explores how transversal play emerges in tangible engagements with materials, experiences, and agencies. These examples illustrate how transversal play can reconfigure roles, soften boundaries, and support speculative, caring, and ethical pedagogical exploration and innovation. The paper contributes a conceptual framework and a practical ethos, along with a set of design orientations for transversal play, to cultivate openness, creativity, and relationality in educational design.

Playful encounters at the intersection of familiar consumer materials and place-based natural matter are fertile terrain for speculative play world-building. This paper introduces bio-collaborative play, a design paradigm where materials and organisms are recognized as active collaborators and kin. This shifts play design away from the manipulation of objects toward a sustained dialogue with living systems. Grounded in Kānaka ‘Ōiwi (Native Hawaiian) principles of pilina (reciprocal care) and kuleana (privileged responsibility), this framework reimagines speculative play as an act of communal care spanning biological scales and generational time. By treating plants, microbes, and everyday materials as co-authors, this approach analyzes how play transcending human/non-human binaries attunes players to multispecies engagement. Findings suggest that granting materials permission to grow, decay, and respond facilitates ecological connections. Ultimately, centering materials as collaborators honors the interdependence of ecological and cultural systems, broadens access to speculative futuring, and transforms play into reciprocal stewardship.

This paper repositions speculative design artefacts as semiotic riddles, where materiality operates not merely as a carrier of speculation but as a vehicle for play. Drawing on Peircean semiotics and narrative theory, we extend Auger’s notion of the ‘perceptual bridge’ to show how speculative artefacts invite audiences into riddle-solving, assembling ‘fabula’ worlds from incomplete ‘syuzhet’ clues. Methodologically, we propose that speculative design can be understood as the crafting of riddles: designing with ambiguity, incompleteness, and interpretive openness. Through three design projects, we illustrate distinct ways in which designers structure the clues of semiotic riddles, whether singular artefacts, fragmented constellations or embodied scenarios and show how these sustain ambiguity and engagement differently. By treating materials and audiences as collaborators in play, this paper contributes to design research an approach that repositions speculation as a relational, playful, and material practice of meaning-making.

While design for play has shown how materials invite and shape engagement, less attention has been given to how material encounters may hold participation over time. This article examines how participation is sustained through material–affective dynamics in early childhood play. Drawing on Spinoza’s (1985) concept of potentia, Ahmed’s (2004a, 2010a, 2010b) notion of stickiness, and Slaby et al.’s (2019) affective arrangements, the study explores how capacities and orientations unfold in situated encounters. Based on design-based research in Danish daycare, the analysis centers on a vignette in which a child remains in shared play through engagement with tape. The analysis shows how materials can sustain participation by gathering attention and holding relations long enough for new forms of engagement to emerge. The article contributes a more precise account of how materials participate in sustaining play and introduces “sticky vitalities” as a sensitizing term.

This paper explores how slow design and care can inform reflective data physicalization practices. Physicalization has been recognized to widen participation in data exploration, but how can it serve communities with varied relationships to power, access, and exclusion? We explored this question through a case study that aimed at supporting a long-term community project through physicalization activities. We found that language around data and representation created barriers to participation, even when demonstrated through established physicalization activities. Centering design processes around participants’ reservations we arrived at Build & Connect, a constructive, participatory physicalization activity and toolkit which, based on the analogy of jigsaw puzzles, invites situated reflection on community-based qualitative data. Reflecting on our design process and the community’s use of Build & Connect, we argue for physicalization processes that embrace participatory, inclusive and situated practices from the stage of data construction and familiar slow forms of making for collective reflection.

Foregrounding the voices of vulnerable communities in future-oriented co-design workshops is a growing concern in design. Yet, their participation in multi-stakeholder settings may be limited by factors such as power imbalances, cultural differences, low self-efficacy or limited availability. In this paper, we present a case where a care-oriented approach to vignette making and use was adopted to foreground the voices of migrant care workers (MCWs) in a multi-stakeholder co-design workshop. Through this approach, vignettes (1) fostered our critical reflection and affective understanding, (2) supported the articulation of MCWs’ lived experiences, and (3) provided a medium to highlight the interconnectedness and complexity of MCWs’ experiences with technology. We argue that a care-oriented approach to creating narrative tools can help foreground vulnerable communities’ concerns, support participation in workshops, and foster more care-full inclusion.

Conversations about end-of-life (EOL) care are often delayed until moments of crisis, leaving little time or emotional capacity for people to reflect on what matters most to them. This paper reports on a reflective co-design workshop in which fifteen participants used material-facilitated methods to explore their imagined EOL experiences. Through landscape making, journey mapping, and collaborative service model building, participants expressed hopes, fears, values, and priorities that are difficult to articulate through direct questioning. The materials created a low-pressure and supportive environment, allowing participants to approach a sensitive topic at their own pace and translate personal meaning into ideas for more compassionate systems and services. The findings show how design can function as a form of care by fostering emotional safety, agency, and shared understanding. The workshop demonstrates the potential of material-facilitated co-design to support proactive EOL conversations, strengthen patient-centered care, and encourage reflective dialogue in community and clinical contexts.

This paper explores the intersection of new materialism and co-design workshop practices, suggesting that design materials are not passive resources but active agents in collaborative meaning-making and future-making processes. Drawing on new materialist philosophy and care ethics, particularly the work of Barad, Haraway, and Puig de la Bellacasa, we examine how workshop artefacts such as canvases, sticky notes, tactile tools, and other ephemeral materials participate in and shape co-design processes and engender more care-focussed design futures. Through observations of co-design workshops in health futures contexts, we demonstrate how attending to material agency extends the value of workshops and forms sites of collaborative meaning and future making. In this paper we explore how materials actively constitute the social fabric of co-design work. This perspective builds on the material affordances of workshop assets and challenges human-centred design paradigms by recognising materials, environments, and other non-human actors as active participants in imagining and enacting futures.

Hand-based paper-ripping collage-making (PRCM) promotes wellbeing through

circular engagement with re-purposed papers as transitional materials, demonstrating a threephased framework (apprehension, confidence, co-creation) that is potentially transferable to

bio-based materials and other substrates. The study introduces paperpeutic, a neologistic term

describing the therapeutic value arising from mindful, improvisational engagement with

manual ripping in PRCM contexts, drawing inspiration from Japanese Chigiri-e and Western

collage traditions. The practice fosters mindfulness, creativity, and community through direct,

hands-on engagement, providing an accessible alternative to the abstraction and precision of

digital design. Salvaged paper is reframed as an active collaborator in the processes of

meaning-making and care, supporting inclusivity and relational design practices. In

responding to contemporary digital dematerialisation, PRCM offers a tangible, material

approach that encourages environmental responsibility while cultivating interpersonal

wellbeing. Beyond workshops, PRCM’s phases offer a scaffold for ‘deconstruct-re-design’

stations—non-guided ripping, disrupting cognitive patterns, allowing for generative ideation

to emerge.

Participatory designers in Singapore work within Bhabha’s “third space,” where identities and practices are continuously negotiated across cultural boundaries. This qualitative study, based on interviews and ethnographic observation with 18 designers addressing social welfare for marginalized communities, examines how designers’ intersectional identities—such as female, queer, Chinese, and gig creatives—shape an ethic of care rooted in Asianised neighbourliness. Designers strategically inhabit in-between spaces, balancing top-down and bottom-up approaches through critical curiosity and cultural competence. Findings identify three interlinked personas: (1) Facilitator—mediating perspectives and trust; (2) Maker—engaging in embodied, situated making; and (3) Reflexive practitioner—cultivating curiosity across demographics. This iterative ethic enables designers to mobilise creative agency and relational care, co-creating resilient, context-specific responses and new subjectivities for participatory social agency. The study highlights how iterative, participatory practices foster alternative, neighbourly care and pragmatic social agency within Singapore’s diverse, rapidly changing context.

This paper explores craft as a site of making and thinking, asking how practice-based ethnography can extend design theory amid ecological and social uncertainty. Drawing on apprenticeship-style fieldwork (2024-2025) with craft communities in London (UK) and Yogyakarta (Indonesia), the study engages practitioners working across textiles, silver, gold, stone, wax-resist batik, wool, and silk. While textiles provide a methodological thread, the research examines how diverse materials shape knowledge through constraints, resistances, and affordances. Grounded in design anthropology and practice-based interpretations of posthuman and new materialist thought, material agency is understood as the capacity of matter and process to influence decisions and tempo. Craft operates as both method and metaphor: method, through parallel making that produces tacit, embodied knowledge; metaphor, through iterative acts of joining, casting, carving, and repair. Sustainability is approached as a situated ecological, economic, and social practice, reframing design as a relational, co-creative process attentive to continuity and care.

This paper positions textile-making as a way of understanding the world through embodied engagement with materials, processes and relationships. Drawing on Xiang embroidery traditions and the Chinese philosophical concept of Qi-Yun (vital force and resonant rhythm). Through participatory workshops with local communities in Hunan, China, it explores how tacit knowledge emerges in a specific context through inner perception, observation, collaboration and dialogue surrounding material interaction and the accumulation of experience. A triangular methodology is developed to analyse multiple standpoints (traditional practitioners, technical collaborators and spectators) and articulate how different standpoints participate in meaning-making within textile practice. This approach theorises embroidery as Qi-Yun flow, rather than a static cultural symbol. It contributes to pluriversal debates by bringing Chinese cosmological thought into dialogue with global discourses on decolonial and Indigenous knowledge systems, as well as having wider implications for design research and cultural knowledge transmission.

Driven by the potential of smart textiles, shape-changing structures, living textiles, and sustainable manufacturing methods, designers seek to push the boundaries of weaving. However, most existing industrial technologies are designed for mass-producing simple, flat fabrics. This has narrowed the collective understanding of the design potential of woven textiles, thereby restricting the development of complex, three-dimensional, and animated textiles. We present a toolkit, developed through an exploratory workshop and focus group discussions with academic and industry-based designers, that enables exploration and expansion of the design space for woven textiles. The card deck and canvas provide a shared language to externalise and interrogate existing ways of thinking, while a modified frame loom enables hands-on exploration of new possibilities. The toolkit demonstrates how combining analytical reflection with hands-on making offers both techniques and a vocabulary for unconventional textile design while providing a method to critically examine production systems in the textile industry.

This research demonstrates textiles as an analytical framework to encode forms of distributed intelligence inaccessible to computational modeling alone, challenging contemporary design's reliance on material homogeneity. Using 3D-printed Voronoi lattices on pre-stretched tulle substrates, we reconceptualize anisotropy (directional variation in material behavior) from engineering liability to design theory cornerstone.

While conventional design favors isotropy for predictability, it has been long observed that biological textiles (skin, muscle tissue, tendons, spider silk, etc) have achieved adaptive functionality through engineered heterogeneity. By systematically varying infill patterns within Voronoi structures, we establish a methodology enabling textiles to hold contradictory mechanical states simultaneously and respond adaptively without centralized control. Pre-stretched substrates embody temporal duality, maintaining both tensioned and relaxed configurations without resolution.

Beyond theoretical frameworks, anisotropy functions as organizational logic for adaptive architectures–envelopes remembering directional loads, facades expressing seasonal deformation, garments teaching posture through variable resistance, and kinetic surfaces communicating emotion through geometric transformation.

This paper investigates how natural dye printing and material agency in textile design can generate theoretical insights for design practice and pedagogy. Textiles are positioned as participants in material processes, where material behaviour, environmental exposure, and user interaction shape design outcomes, moving beyond stability and control toward adaptability, reflectivity, and sustainability. Drawing on critical making and time-based design thinking, impermanence and imperfection become foundational strategies for developing pedagogical and theoretical frameworks. Practice-based experimentation demonstrates how process, relationality, and sensitivity to materials allow theory to emerge directly from making and observing transformation. By embracing changeability, this approach reframes conventional notions of durability, value, and aesthetic perfection, offering a method for exploring how textiles can act as media of knowledge and design inquiry.

This paper explores how textile dialogues can be crafted within material‑driven de-sign processes in the context of increasing environmental pressure on textile re-sources and forthcoming regulations such as the EU Ecodesign for Sustainable Products Regulation. Through observations of professional practitioners and anal-yses of design students’ thesis work, the study investigates how material‑first ap-proaches influence ideation, prototyping and reflection in apparel and textile de-sign. Practitioners naturally engage in reflection‑in‑action, using craft skills to nego-tiate material behavior and technologies, often leading to unanticipated design di-rections. Students, guided by the material‑driven design model for apparel and tex-tiles, deliberately develop similar dialogues, gaining insights into material potential and limitations while strengthening their awareness of resource scarcity. The find-ings suggest that incorporating material‑driven methods early in the design process enhances designers’ “response‑ability” and supports more environmentally respon-sible decision‑making. The study points toward integrating such models more broadly in both design education and professional practice.

Public participation plays a central role in sustainability transitions and addressing complex environmental challenges. However, governments face multiple challenges in enabling meaningful public participation and multi-stakeholder collaboration. Such processes tend to be constrained by legal frameworks, institutional rigidity, fragmented infrastructures, and limited capacity to facilitate multi-stakeholder dynamics. Drawing on insights from literature on transition governance and public participation, this article explores how public participation systems and infrastructures can be shifted towards what is needed in the context of transitions. The concept of infrastructuring is proposed as an analytical and design-orienting tool. Infrastructuring, here understood as an ongoing process of building social practice, could help identify the invisible elements, capacities, tools, and dynamics needed within the process of construction, maintenance, and adaptation of participatory systems. It can support the development of strategic design interventions to improve multi-stakeholder collaboration for navigating sustainability transitions.

Citizen Innovation Labs (LabICs) have emerged as experimental infrastructures for collective design and civic transformation. Operating in close partnership with public institutions, these laboratories create collaborative spaces where urban publics co-design responses to issues of shared concern. Yet, little is known about how these laboratories operate as long-term supports for community-driven initiatives beyond their initial phases of experimentation or incubation. This paper investigates how LabICs mobilise processes of infrastructuring to support broader cycles of social transformation by analysing the case of Conectando Cozinhas, a citizen-led initiative developed within LabIC Novale (Brazil). Using a retrospective qualitative case study, the research reconstructs the initiative’s trajectory across five stages. Findings suggest that LabIC Novale acted as an enabling infrastructure that fostered public formation, collective ownership, and translation of grassroots initiatives into institutional contexts. Yet sustaining participation beyond the incubation phase remained a challenge.

While design has gained significant interest in the public sector in recent years, it has yet to gain real traction. Even in countries seen as frontrunners, design has not become mainstream practice and its potential to meaningfully address public issues remains largely unrealized. One of the main reasons for this is that designers find it difficult to legitimize design. In this study, we conducted eight interviews with designers to explore how they attempt to gain legitimacy for the outcomes of their work. We adopted an argumentation lens to identify the various legitimation strategies employed. Rather than individual strategies, we present their underlying mechanisms. Nine mechanisms emerged, grouped into three categories: conceptual, relational, and situational. Interestingly, designers often draw on their designerly capabilities in legitimizing their work. Hence, although design is often said to struggle with matters of power, this study highlights that design holds its own form of power.

Design’s expanding presence in policy has generated multiple expressions of its value and impact, yet few address the political and strategic dimensions of policymaking. This paper examines how co-design operates within these dynamics by navigating frame conflicts during policy problem-setting and policy options modelling. Drawing on Schön and Rein’s theory of Frame Reflection, we analyse how institutional framings of policy issues collide with those held by communities, and how co-design practices surface, negotiate, and reconfigure these conflicts. Through two English case studies: 1) School Food Systems and 2) Breakfast Clubs, we show how co-design reveals divergent interpretations of public problems and enables collaborative reframing toward implementable clumsy solutions. The findings highlight co-design’s under-recognised capacity to make frames visible and negotiable in policy contexts. This practice of participatory frame navigation furthers our understanding of design’s contribution in policy-making contexts.

Local urban governments struggle to approach environmental goals in the global climate crisis. An understanding on the necessitiy to increase fair citizen engagement in governmental sustainability initiatives has become fundamental, the challenge emerge on how processes can become resilient beyond specific project initiatives. The concept of infrastructruring, here understood as a situated effort to hold together socio-material constellations that enable certain ways of acting, provides a foundation for long-term interaction between the public sector and citizens. But as the participatory design community is strong on providing ”points of entry” for citizen participation it remains less clear how one cares for nursing relations after projects end. Analyzing an ongoing case of a municipality’s efforts to engage citizens in sustainable co-creation towards climate transition. We introduce ”points of exit” as an analytical concept and how the concept of ”aligning actants” is relevant for participatory design, policy development and governance models.

Responding to the evolving changes in the energy industry—from government-led infrastructure development to business-driven energy solutions, and nowadays to energy products and services created by householders—this paper explores how design can contribute to this transition and create value across multiple frontlines. The paper begins by outlining the dynamics of the energy industry’s transformation and the reasons behind it, followed by a case study conducted in collaboration with an internationally recognized renewable energy technology company. The case study traces the evolution of design from a peripheral function to a central driver of corporate strategy. It identifies a triple-mechanism model through which design transforms organizations: as a Sense-Maker reframing external pressures, an Institution-Builder gaining strategic authority, and a Value-Creator enabling business model innovation. The study contributes a foundational, empirically-grounded theoretical lens for understanding how organizations actively design their transformative pathways.

This multi-case study of seven Chinese growth-oriented manufacturing SMEs explores how design capability is integrated and stably embedded within organizational innovation systems. Through analysing the dynamic process of sensing-seizing-reconfiguring and integrating the RPV framework, four stable embedding patterns are identified: Supporting, Rooted, Cognitive, and Instrumental. Findings reveal that embedding patterns are jointly determined by value creation logic, value chain position, resource conditions, and managerial cognition. Design capability embedding is not a linear maturity process but depends on continuous dynamic adaptation and organizational adjustment. Market validation feedback loops linking design investment to business outcomes play a crucial role in sustaining embedding patterns. The study offers differentiated design strategy recommendations for resource-constrained SMEs based on their specific strategic contexts.

This paper investigates strategic design in practice by analysing how organizations describe designers’ work in 232 job advertisements across the Nordic countries. Building on literature that positions strategic design as both strategy formulation (SF) and strategy implementation (SI), we identified explicit signs of SF and SI in the descriptions of designers’ tasks in the ads. Our findings show that Strategy implementation appeared in all ads, while strategy formulation was present in 104 roles (44.8%), mainly in senior-level positions. These SF activities included, for example, aligning design and product strategies with business objectives, leading product development and product management, driving strategic projects, setting design direction, and owning and developing design or discovery processes. We contribute to strategic design research and education by offering a detailed, evidence-based view of how expectations for strategic design are currently expressed in design practice.

The term “strategic design” gained popularity over the last three decades. It originated in the 1990s, when design management scholars began studying the strategic value of design within business organizations. In the 2000s, terms such as design thinking and user-centered design gained traction, expanding the scope of design work and who was considered a designer. In professional networks, strategic design has been emerging as some professionals claim to be strategic designers or discuss related practices. This exploratory paper aims to identify definitions, roles, and skills associated with strategic design in the context of business organizations. A scoping of the literature and an analysis of job postings reveal three strands of strategic design practice: design management, business strategy, and design strategy. These three strands indicate divergent roles and require different skills, but all present similar challenges for designers and design-oriented practitioners seeking to work on strategy.

The design industry is experiencing significant occupational shifts driven by rapid technological advancements, evolving market demands, and other pressures. Traditional roles like 2D rendering, mock-up production, and market research are declining. This research systematically explores these declining roles through comprehensive desk research, expert focus group interview, and in-depth interviews. The study identifies a clear trend: manual, routine processes are being replaced by digital tools, automation (like generative AI and 3D visualization), and multifunctional roles. Societal shifts toward digital content, economic imperatives, and policy frameworks accelerate these changes. To address these transformations, the study proposes a strategic framework: individual designers should diversify skills by integrating creative thinking, strategy, and technological proficiency. Organizations are advised to reorganize into multifunctional teams, emphasizing human-centered competencies. Educational and policy initiatives must update curricula to facilitate continuous adaptation. This research provides practical strategies to support designers in navigating occupational change and ensuring sustainable professional growth.

Amidst the acceleration of internationalization, service innovation has emerged as a critical pathway for New Energy Vehicle (NEV) firms to attain sustainable growth. Adopting a dynamic capability view (DCV), this paper investigates how service design contributes to the development of service innovation dynamic capabilities (SIDCs) within firms undergoing internationalization. Drawing upon a case study of the BYD New Energy Vehicle firm, the findings indicate that the functional, systemic, and iterative characteristics of service design facilitate the construction of micro-foundations for SIDCs. This is achieved through the integration of user insights, the fostering of cross departmental collaboration, and the reconfiguration of the service system. Consequently, this reinforcement enhances the skills, processes, and organizational architecture that underpin the firm's SIDCs. This study theoretically bridges dynamic capability theory and design research. Practically, it offers implications for firms seeking to leverage service design as a driver for service innovation.

Reciprocal Sensing is an alternative way of body mapping that draws from Indigenous Lenca ontologies, which understand matter as animate and relational. It expands body mapping to account for culturally specific contexts and ways of knowing. The proposed method invites participants to (1) link each felt experience to a worldly source (the non-human agent or co-actor) and (2) visualize the direction of these sensory flows. Using an autoethnographic approach, iterative body mapping sessions revealed recurring patterns of exchange between the body and its material environment. This informed the development of Reciprocal Sensing as a culturally situated, more-than-human perspective to soma design. Grounded in Honduran Lenca and Mestizo perspectives, our approach builds on embodied knowledge as shaped through environmental reciprocity and opens body mapping to reflect indigenous ways of such relational embodiment.

Grounded in theories of embodied cognition, extended mind, and mediating artifact, this paper proposes a human–artifact–human perspective to explore the relational mediation of artifacts in social interaction. Through a systematic review of 30 key studies published between 2010 and 2025, a four-dimensional analytical framework is constructed—embodied cues, interaction modes, mediating artifact features, and affective outcomes—to reveal how embodied design generates relations among the body, artifacts, and society. The analysis shows that embodied interaction is shifting from functional control toward relational generation, presenting four tendencies: micro-intimacy, ambient co-presence, culturally embedded bodily rituals, and slow relational rhythms. Building on these insights, the study proposes a human–artifact–human relational framework to explain how embodied mediation operates across individual, social, and cultural contexts, and advocates a relational and affective approach to embodied design that provides theoretical grounding and future directions for understanding artifacts as relational mediation.

This paper presents the design and building of an experimental pavilion using a novel technique of extruded cob manufacture. Design Research is presented as the co-exploration of a sequence of semi-controlled variables by a shifting body of researchers, facilitators, students, and makers where authorship becomes suffused amongst these collaborators. This co-created knowledge is rightly presented as a paper co-authored by the student interns and academics involved. Phases of architectural design, material investigation, manufacture, and construction are discussed as an episodic series of inter-connected prototyping dialogues between human, machine, and material actors; and as emergent making where embodied knowledge is inherent in the processes of manufacture and construction. In ‘Cob Club’ - situated between UWE’s Centre For Print Research and School of Architecture & Environment - design research proceeded as a series of foolish exchanges that reveal the creative benefits of unmanaged collaborative spaces within the rational processes of research institutions.

This paper investigates the feminist identity transformation strategies of "self-combing" women in late nineteenth-century China, who resisted patriarchal marriage identity by enacting alternative female identities through "Goddess Fictual" practice (goddess fiction belief and ritual performance). Through fieldwork of the historical residences and spiritual spaces of self-combing women, this paper identifies the goddess shrine as their new female identity performative site. It was within this specific site that spiritual goddess belief and identity ritual performance converged to support these women’s identities. Inspired by this historical experience, we translate this feminist practice into a new design methodology. It demonstrates how this historical "Goddess Fictual" practice can function as a modern feminist design methodology. We propose a four-stage framework called Design Goddess Fictual. This framework empowers women navigating identity dilemmas to find their voice, reimagining new identities that disrupt inherent ones to facilitate a plurality of women’s identities.

Typography has increasingly been recognised as a valuable lens for cultural and urban analysis. This literature review extends such perspectives by examining how design-led approaches can support the documentation, reinterpretation, and revitalization of urban letterforms as cultural heritage. Drawing on typographic studies, geosemiotics, and design research, it focuses on urban typography — typographic landscapes — understood as spatial and multimodal carriers of memory, identity, and cultural value. While existing scholarship has explored the semiotic and aesthetic dimensions of typography in the urban environment, and some have proposed design-led interventions, connections between theory and practice remain open to further development. The review synthesises interdisciplinary literature, clarifies key terminology, and establishes a conceptual foundation for a practice-based inquiry. It argues that typography, beyond its communicative role, contributes to the material and mnemonic fabric of cities, and that design can support the preservation and reactivation of these typographic forms in response to ongoing urban change.

The production of knowledge in data visualisation can serve as a space for the reproduction of social hierarchies; therefore, there may be an intrinsic relationship between normative parameters in design and power structures. This study examines normative biases in information design and presents counterpoints to the predominance of these hegemonic values from a feminist perspective. Drawing on a theoretical framework that challenges established norms, this paper proposes a

critical analytical and methodological tool to transcend normative bias in the design process. The tool supports the analysis and creation of visualisations from a humanistic and feminist perspective. To validate its potential, it is applied to data visualisations from journalistic sources addressing the underrepresentation of women in politics. The analysis demonstrates the tool’s effectiveness in highlighting biases and gaps in information design artefacts, confirming its ability to promote a fairer and more critical design practice.

In design education, AI-assisted visualisation tools are challenging established sketching practices during ideation, influencing how students generate, iterate, and develop ideas. Empirical research on their impact on students’ creative processes is essential to guide pedagogical integration. Guided by the Design Tool Characteristics (DTCs) framework, this study analyses the survey data (n = 55) from two undergraduate design cohorts (2024–2025) using an AI sketch rendering tool during studio-based ideation. Findings reveal a central fidelity–flexibility paradox: AI’s high-fidelity outputs accelerated divergent visualisation, yet its perceived low flexibility and limited control constrained iterative refinement. This tension between rapid generation and limited creative agency challenges conventional low-commitment sketching workflows, advancing theoretical understanding of how tool characteristics shape creative engagement. Based on the findings, we propose pedagogical strategies to support stage-appropriate AI use, cultivate AI literacies, enhance creative engagement, and inform the development of AI tools that support both divergent exploration and convergent refinement.

The pervasive use of AI in design continues to increase, affecting most, if not all, facets of design practice. This is reflected in the expectations and practices of design students, even at an early stage in their education. The integration of digital tools in sketching is nothing new, but the use of AI tools may see the outright replacement of this well-established skill. This study considers the experiences and perspectives of novice design students, examining their use of AI tools and whether GenAI could replace sketching for creating images of initial concepts, assessing both against the novice designers’ intentions using a vividness of visual imagery scale. Along with examining links between designers’ own vividness of visual imagery in comparison to their education, assessing each method’s ease of use and designers’ preferences, this study uncovers various themes in novice designers’ perceptions of each method.

The use of AIGC to assist in design is increasingly common in industry and classrooms. Designers delegate critical thinking, creativity, and decision-making to AI, leading to mental inertia and blind obedience, making learners’ critical thinking crucial. This study explores how AIGC-aided E6 design thinking affects beginner designers’ critical thinking via controlled experiments. Beginners conducted "future travel products" concept design, generating sketches on LiblibAI, with the E6 design thinking scale as an intervention. Data were collected via repeated generation, retesting, and interviews. Results: 58.82% of the scale items showed improved critical thinking, 71.43% of the works were rated better by experts, and 57.14% of beginners formed "question-iteration" patterns. Thus, AIGC-aided E6 design thinking promotes beginners’ critical thinking. The study proposes future AIGC tools integrating controllability, cognitive guidance, and process iteration to aid design and foster critical thinking.

This article presents findings on the reciprocal relationship between industrial design education and the industry it prepares graduates for. Particularly considering the growing impact of Generative Artificial Intelligence (GenAI) on ideation, sketching, design methodologies, and productivity. To inform this research, industry professionals currently integrating GenAI into their practice were consulted to establish benchmarks and highlight critical areas for updated pedagogical approaches and digital transformation, thereby ensuring that design learning and productivity workflows remain relevant. The study arises from an awareness of current workforce shifts that are anticipated to become more pronounced soon. Rapid technological advancements are driving significant cultural and professional changes within both design education and industry. The traditional conception of the designer-creator and maker as the sole originator of innovation is evolving and expanding to encompass new roles as designers-curators who foster innovation through collaboration with autonomous AI agents proficient in specialised tasks with exceptional speed and performance.

Text-to-image Generative AI (T2I GenAI) tools have become commonplace in design practice and education, raising important questions about their role alongside exploratory sketching. This article explores T2I GenAI as an emerging visualisation modality that alters how designers create and explore ideas. Specifically, we examine the acute tensions between GenAI’s near-instantaneous, high-fidelity, text-driven outputs versus the ambiguous, iterative, and reflective act of traditional sketching. We report on a one-day ideation activity by 13 student designers, in which we analysed 1292 prompts, generated imagery, alongside reflective survey data to uncover patterns of productive and counterproductive T2I GenAI use. We outline prompting behaviours that characterise (counter)productive sketching behaviours, including broad exploration, reinterpretation, ambiguity and design fixation. Through our findings, we contribute practical prompting strategies to employ T2I GenAI to support and stimulate traditional sketching. As such, we provide insights on how AI can augment and challenge the cognitive and creative value of sketching.

Understanding perceived authorship and creativity is critical for novice designers to improve efficiency and engagement in human-AI collaboration. This study explores how different AI influence levels (100% = high human-drawing influence, 0% = low drawing influence) affect perceived authorship and creativity, and how these levels relate to design intents that shape authorship and support the process-oriented nature of creativity. Vizcom workshop post-surveys measured perceived authorship and creativity (N=45). Regarding authorship, when high AI influence (low authorship threshold), basic resemblance to the sketch was enough; when low AI influence, participants expected signature cues and minimal AI changes. Regarding perceived creativity, high AI influence better fosters divergent thinking in the early concept phase, while low AI influence enhances refinement. This provides a framework for when—and at what AI-influence level—AI tools effectively support design intents (loose or tight) and different creative goals (exploration or refinement), helping students strategically leverage AI tools in the design process.

Affective relations among humans and more-than-humans are full of shifts, subtleties, and complexities. Yet, design research often treats feelings as stable instruments to utilize for making sustainable climate futures. Through reflection-on-practice, we untangle impressions and gestures in the field during a design research project in the Sonoran Desert titled Gifts for Tempe. Our reflections focus on shifts in our attention and attachments with an ‘invasive’ plant commonly known as Stinknet. The impressions and gestures reveal designer-researchers’ thick tensions in designing for climate futures. By showing how affective relations with more-than-humans change over time, we identify that climate futuring involves learning to gesture from intermediary positions where plural feelings coexist. These accounts of our unfolding relationship with Stinknet in the desert ecosystem show how designers feel their way toward reciprocity with more-than-humans when striving for sustainable climate futures.

While the more-than-human is often made visible on the individual, contextual level, it is nevertheless vital to shape sustainable practices at policy and industry level to create sustained change. If it was a necessity to include non-human stakeholders in the creation of new buildings, in the manufacturing of new products and more, what could the needed design tools look like? This paper envisions design practices shaping a world where the more-than-human is already accepted and anchored in law through narration. Subsequently, an attempt is made to create tools that find practical application in this speculative scenario, creating a more-than-human practice that is self-evident and applicable in a larger context. Those speculative design practices are drawn into the present, resulting in a framework for persona creation & stakeholder mapping based on a Capability Approach, taking inspiration from service design and technology transition policy.

Art is increasingly mobilised in climate governance and policy, yet often instrumentalised for predefined human agendas of data visualisation, awareness raising, and science communication. This paper explores design research’s role as a mediator of more radical art-driven participation that cultivates more-than-human care ecologies: relational configurations that redistribute sensing, accountability, and decision-making across human and other-than-human actors. Drawing on theories of care and affective politics, we examine how design research can support art-driven participation through a critical literature review. Three illustrative case studies addressing sustainable transitions on an interregional level, urban air pollution, and disaster recovery demonstrate a move from anthropocentric frames in policy making towards situated more-than-human co-composition. We argue that by mediating between artistic practice and governance, design research can foster more open, relational spaces for change. The paper opens a debate and calls for sensitive, tentacular mechanisms to understand and articulate just and resilient more-than-human climate futures.

In the dryland of environmental governance, design can help cultivate what we call ‘wet’ policymaking: an approach that embraces affect, emotional engagement, and more-than-human (MTH) relations as integral to ecological decision-making. Drawing on fieldwork with open-water swimming collectives and policy initiatives in Flanders, Belgium, we explore swimming as an agonistic inquiry into wet policy futures, revealing the tensions between the prevailing dryness and the potential wetness of environmental—particularly water-related—governance. Theoretically, the paper weaves together affective agonistic democratic thought, political design, and MTH perspectives to articulate wetness as both a political and design orientation. We argue that open-water swimming in Flanders exemplifies a practice of political and ecological attunement that offers valuable insights into how to design wetly for ecological policymaking—immersing bodily in policy concerns and engaging affectively with MTH worlds.

This paper situates the 2024 Rio Grande do Sul climate disaster within the intertwined crises of the Anthropocene, arguing that those impacted developed situated practices to preserve identities and sustain life amidst collapse. Drawing on in-depth interviews with thirteen individuals directly affected by the floods, the research identifies Modes of Being that illuminate strategies of adaptation, care, and continuity rooted in Latin American ontologies. Through the interpretive lenses of Anna Tsing’s concepts of ghosts, monsters, and ruins, these modes reveal how to endure life in the Anthropocene and reconfigure identities and relations to persist. The study proposes a framework of four ethical values for situated design in the Anthropocene, rooted in considering the autonomy of local communities, perceiving more-than-human care, reorienting toward permanent instability, and resignifying the time of things. We argue that by embracing these values, design practices can shift from universal logics toward pluriversal and relational climate futures.

This paper explores the visualisation of wetlands and waterways as a more-than-human design practice that can generate situated and relational understandings of colonised urban wetlands and waterways in Australia. We analyse three design research projects that create online visualisations of wetlands in Australia: The Sound of Water, Environmental Flows in Nap Nap Swamp (2021); The Rippon Lea Water Story (2023); and Dyarubbin the real Secret River (2020). These projects are brought together in this paper to open discussion about the role of design research place-based ethnography and critical visualisation in communicating with and about water places. We make the argument that emergent aesthetics and affects of these projects can reconfigure practice towards more equitable, reparative, and care-full climate futures.

This article presents practice-led research where stage design is understood as an active, agential collaborator in theatrical performance, similar to how toys, playgrounds and material games are used as catalysts for play. Addressing the limitation of static, representational design, we develop a design for play methodology drawing from Constructivist theatre’s concept of the “acting apparatus.” This research explores the agency of material design within the performative space through two complementary case studies: an analogue, embodied board game system and a tech-driven, automated environment where pre-programmed robots act as performers. The playing machine concept is proposed as a design method that uses material, tangible systems to define constraints and affordances, creating the context for play to emerge. Results indicate that this reframing shifts theatre from performance-as-representation to theatre-as-play, offering a new model where scenography actively shapes the performer’s actions and the audience’s sensorial understanding.

This paper offers a practical representation of evolving research within a PhD project, exploring play in a child-centred design process. During a workshop with children aged 6–8, the question "Can I cut the big box?" created a moment of tension that became a site of emerging knowledge. Drawing on abductive reasoning, the paper uses doubt as a generative method to explore uncertainty in fieldwork. Through writing and the notion of emplotment, the concept of Material hierarchies emerges - first grounded in material methods that position materials as active agents, then through the notion of playables - as a lens for reading the discrepancies between children's attitudes toward materials and the imaginative possibilities those materials afford. The paper argues that attending to these contradictions is essential to child-centred research: by holding both perspectives simultaneously, it becomes possible to more honestly represent the complexity of children's perspectives and the now they inhabit.

Material exploration is central to both play and design, where imagination unfolds through tactile and social engagement. This study examines how materials participate as agents in creative exploration through three video-recorded construction-play sessions involving children aged five to six. Using reflexive thematic analysis, the study identifies three key findings: (1) expressive form elements augment material agency; (2) affordances are encountered through two distinct relational mechanisms — Affordance Emergence and Affordance Orientation — which mediate between imaginative states and material properties; and (3) participation shifts dynamically between contributing, cooperating, and collaborating. By clarifying how affordances bridge psychological engagement and material structure, the study advances discussions of material agency and participatory dynamics in both play and design research.

This paper investigates how constructive play can support social–emotional learning (SEL) in late childhood. As children approach adolescence, they increasingly seek emotional support from peers, develop stronger identities and need to engage in self-reflection and personal expression. Despite these needs, SEL programs targeting children aged 8 to 11 are limited. Research has shown that play can support SEL. This study explores how constructive play can foster social–emotional skills and help address this shortage. The project was conducted with a child-centred approach and a design-based research methodology, ensuring a strong link between theory and practice while prioritising children’s perspectives. The fieldwork took place in a Danish after-school club, involving third to fifth graders from five schools. The project found that constructive play supports the expression of individual and community perspectives, self-reflection and community building. Three factors—materials, open-endedness and goal expectations—were identified as primary influences on children’s engagement.

Moving across time horizons and system levels is challenging in collaborative innovation, where multiple agendas amplify complexity. As designers increasingly engage in processes aimed at transforming systems and fostering collaboration across boundaries, questions arise about how to navigate such complexity and orchestrate collaborative innovation. Situated within a collaborative innovation research project, this study draws on two empirical components: interviews with experienced design practitioners leading the multi-actor innovation processes, and the development and testing of a parallel design game. Design activities used for orchestrating collaborative innovation, identified through the interviews, informed the principles of the design game. The study presented here (1) identifies five key design activities used by designers to orchestrate collaborative innovation, (2) introduces design games as tools for orchestrating collaborative innovation, and (3) develops a framework demonstrating how design games can function as rehearsals for collaborative innovation, helping to establish real-world testbeds for systemic transformation.

Design research in social computing has used the concept of care to describe how technologies help or hinder interpersonal support online. Yet opportunities remain to explore how the subtle, everyday forms of care that have long sustained communities can inform social technology design. Addressing this, we present a collection of design patterns that translate culturally specific, everyday social practices like passeggiata (Italian social stroll) and sobremesa (Spanish post-meal lingering) into design prompts for digital platforms. Our collection has five pattern families: Shared Habits and Routines, Atmospheric Qualities, Collective Identities, Facilitation Roles, and Boundary Practices. The patterns map these families to implicit care practices identified through digital ethnographies of Reddit, Discord, and Facebook communities, illustrating how platforms can support, without scripting, everyday forms of care. The resulting collection functions as both an analytic and generative tool, foregrounding how everyday care is enacted through rhythm, atmosphere, and maintenance in online community life.

This paper explores how the ethics of care can be applied to circular product design. Although the concept of care is compatible with circular design, individualistic models of care place excessive focus on single actors, such as designers, while approaches of shared or collective care risk the diffusion of responsibility, making it unclear who should act in order for certain needs to be met. These approaches fail to adequately address three interrelated problems: moral distance, influence (or lack thereof), and the diffusion of responsibility. Consequently, this paper introduces the concept of distributed care, an approach that focuses on assigning care responsibilities to stakeholders in a value chain according to their competence and sphere of influence. Ultimately, this paper argues that achieving a truly sustainable and ethical circular economy requires a (fair) distribution of care among all stakeholders in a value chain.

Contemporary memorial exhibitions presume emotional intensity produces durable memory, employing affective saturation strategies that neuroscientific research reveals as counterproductive. Emotional arousal consolidates central affective impressions whilst compromising contextual understanding: visitors retain visceral sensations but lose historical processes. This paper develops a theoretical framework integrating Assmann's cultural memory theory, neuroscience of memory consolidation, and care ethics to inform commemorative exhibition design. A four-modality taxonomy, individual, collective, spatial, and sensory, translates psychological memory categories into operationally distinct design approaches. Digital mediation constitutes a transversal narrative apparatus serving memory transmission across all four modalities, functioning as infrastructural support. Design parameters specify spatial configurations, lighting, materiality, and temporal organisation calibrated to biological constraints. Design care challenges dominant memorial practice, proposing that respecting cognitive limits facilitates memorial depth. Three mechanisms, modulation, pacing, and recovery, operationalise care principles, repositioning visitors as active meaning-makers whose memorial formation requires conditions that facilitate rather than overwhelm processing capacity.

Emerging grief technologies promise to preserve the dead through data, yet often neglect the relational, ethical, and spiritual dimensions of memory and identity. This paper proposes a care-centred framework for digital legacy design, grounded in the speculative concept of A Living Will, which uses augmented reality to enable co-created posthumous memories between the living and the deceased. Through autoethnography, participatory workshops, and theoretical analysis, the study critically examines how care ethics and co-authorship can transform digital legacy from an act of preservation to one of participation. By treating identity as distributed and legacy as relational, we reframe grief technology as a site of relational responsibility rather than as a form of simulation by cultivating ongoing, situated relationships with the dead. The contribution positions care not as sentiment but as method, showing how speculative design can enact care through ambiguity, consent, and embodied remembering.

Urban crises and power inequalities intensify processes of urbanization that reinforce exclusion, segregation, and displacement. Within urban design, care has recently been discussed as an ethical and political framework for addressing these dynamics. However, little attention has been paid to how care-ethical principles can be translated into concrete urban design practices. This paper responds to this gap by developing four caring practices for urban design. Using dialogical inquiry through conversation as a method, the research brings together feminist care ethics with situated, practice-based knowledge from the urban design project Forno Vagabondo – a mobile social oven traveling through a valley in the Italian Alps. Through this process, four interrelated approaches are developed: context sensitivity, common maintenance, tangible interdependence, and transformative solidarity. Together, these practices illustrate how care can materialize in urban design and open possibilities for more relational and emancipatory urban futures.

The smart city paradigm operates on data representation, meaning that communities not included in official datasets are not represented and therefore do not exist politically. This condition of systemic exclusion demands an ethical design intervention, mixing cartography, visual communication and graphic design. Our paper presents a dual methodological approach that constitutes a cartography of care. This methodological framework visualises undocumented functional dynamics, providing a data-driven basis for urban planning that reflects the actual, lived usage of the city. First, we introduce ethnographic projection, a participatory design methodology that creates protected representation within existing GIS systems. Second, we present chorematic visualisation, a cartographic technique for abstraction that converts quantitative data into primary geometrical structures. This visualisation serves as an analytical stage that explains excluded phenomena such as shadow labour routes and community care networks, which technological mapping ignores. This process is showcased through undocumented migrant workers in Tel Aviv.

This paper investigates how textile-based practices can open alternative modes of inquiry into research material. Through an exploratory workshop, a multidisciplinary group of creative professionals and design researchers engaged with photo-elicitation data by embroidering directly onto photographs printed on fabric and wallpaper. This tactile and embodied engagement enabled a slower, more reflective encounter with the material, where meaning emerged through touch, rhythm, and collective making rather than systematic analysis. By lifting threads, piercing fabrics, and tracing stories through stitches, participants enacted a form of textile thinking: one that performs epistemologically through material interaction. This approach situates embroidery as a methodological and philosophical practice that intertwines making and knowing, contributing to ongoing discussion about the role of textiles in expanding design theory and critical inquiry.

This study analyses textile teaching at Universidad de Chile (1930-2000), the first institution to incorporate it as an academic discipline in the country, as a case of theory-making through practice. Drawing on archives, oral testimonies, and material objects (looms, notebooks, works), we reconstruct how textiles operated simultaneously as technical knowledge, affective space, and pedagogical practice.

In dialogue with Catherine Dormor, we approach weaving as material thinking and "theory-making" through making; following Elvira Espejo, we situate it as a matrix of relational knowledges. This case inscribes itself within institutionalization of textiles in 20th-century art and design schools, with influence from foreign instructors and emphasis on gobelins, tapestry, and kilim.

Currently, both collection and teaching remain in Faculty of Arts as textile art, with no consolidated field in design. This displacement evidences the need to reconsider textiles in design education. We argue textiles produced epistemological frameworks dialoguing with contemporary material practice debates.

Textile design practice research (TDPR) has recently been used in the delivery of multiple largescale material science-based projects. This paper considers the role TDPR played in the EU-funded HEREWEAR project and how has it contributed to theories of design practice research. The full range of textile experimentation - including engineering and design-led sampling - is mapped; then three TDPR interventions are explored using annotated portfolio approaches (Gaver & Bowers, 2012) framed by ‘sited’, ’situated’ and ‘situating’ conditions (Kaszynska & Kimbell, 2024). The authors examine the results from the TDPR within the context of various communities of validation, presenting how TDPR can bring original insights to practice research theory. The findings include an expanded approach to the Triple 'S' (TS) model for reviewing practice research, intended for utilisation by funding and event strategists wishing to harness TDPR interventions to create impact benefiting diverse communities, including scientific, technological and social innovation stakeholders.

Memory and experiences of the built environment cannot be registered, defined, or represented without an understanding of the complex negotiations that occur between the layered relationships of bodies, architecture, and identity. However, existing tools of architecture, including practices, methodologies, and language, have contributed to concealing the voices and experiences of marginalized communities within the built environment. In the decolonizing of architecture, discourse must expand its theoretical positioning and languages of process and critique to include informed intersections with existing disciplines outside of architecture that use systems of thinking and repair in alignment with pluralities of lived experiences. Informed by textiles, as negotiations between the trajectories of bodies and architecture, centering identity, culture, and experience, the paper presents a new form of spatialized memory through the making of textile responses that move from private to public atmospheres, seeking to preserve and celebrate authentic lived experiences and cultural identities.

This paper analyzes four Cultural Game Jams (CGJs) in the Netherlands, conducted within EPIC-WE, a European project exploring how game-making can become a tool for both cultural reflection and dialogue between youth and cultural, educational and creative stakeholders. The jams connected cultural heritage organisations, creative industries, higher education, and young people (15–25) in a Quadruple Helix framework. Across two years, youths designed games that addressed societal issues, cultural heritage, and European values, while their roles evolved from participants to members of a Youth Advisory Board acting as co-designers, research contributors, and co-facilitators. Through cross-case analysis of jam formats, game outcomes, and the development of youth involvement, the paper shows how participatory, creativity-based practices can position young people as cultural agents rather than mere audiences. The findings offer insights for cultural and public institutions seeking to engage youth as co-creators in shaping cultural meaning and societal narratives.

Parents Anonymous®, a social service agency, provides a comprehensive ecosystem of supports to parents through its National Parent & Youth Helpline and mutual support groups. The verbal support provided through the Helpline is the core of this public service. We present a computational user research approach that learns from call transcripts to guide continuous improvement across the helpline–group system. From real conversations, we extract clear, actionable signals: how emotions shift during a call, which needs recur over time and when people are most likely to reach out. These insights feed back into everyday practice: refining counsellors’ training and responses, timing follow-ups, and planning schedules and outreach. The approach adds no burden to callers, fits existing staff workflows, and complements practitioner expertise. We offer a practical roadmap for public teams to pair service design with data-driven feedback so helplines.

Development of policy tools and instruments has always trailed behind technological innovations. More recently, the rapid advancement of AI technologies has resulted in significant widening of this policy gap — a genuine wicked problem. To address this we developed a participatory AI Policy Design toolkit, engaging 23 technology researchers and practitioners to (1) critically evaluate existing AI use cases to identify key considerations for policy; (2) generate a catalogue of current and near future AI use-cases in their domains of expertise; and (3) collaboratively develop AI policy intervention proposal artefacts, and foster a shared vocabulary for AI policy design. Results highlight key tensions, challenges, and opportunities for collaboratively exploring AI policy discourse. The central contribution of this work is to help identify AI policy blind spots, equity concerns, and anticipate enforcement gaps, and building capacity to help democratize discourse about AI policy through contextually relevant, generative, and reflexive approaches.

Data donation, an emerging user-centric data collection method for public sector research, faces a gap between participant willingness and actual donation. This suggests a design absence in practice: while promoted as "donor-centered" with technical and regulational advances, a design perspective on how data choices are presented and intervene on individual behaviors remain underexplored. In this paper, we focus on pre-donation data exploration, a key stage for adequately and meaningful informed participation. Through a real-world data donation study (N=24), we evaluated three data exploration interventions (self-focused, social comparison, collective-only). Findings show choice framing impacts donation participation. The "social comparison" design (87.5%) outperformed the "self-focused view" (62.5%) while a "collective-only" frame (37.5%) backfired, causing "perspective confusion" and privacy concerns. This study demonstrates how strategic data framing addresses data donation as a behavioral challenge, revealing design's critical yet underexplored role in data donation for participatory public sector innovation.

The recent popularisation of data and their visualisation has offered new opportunities for spaces of citizen participation around contested issues, such as climate assemblies. The potential of data visualisation in opening and supporting discussions has been widely recognised, but so has the risk it carries of naturalising certain perspectives and delegitimising others. Still, the roles played by data visualisation in the specific context of climate assemblies remain unaddressed. This paper investigates those roles through field observation and desk research around a case study, the Københavnernes Klimaborgerting. The study explores which data were visualised, how, by who and why. What emerges is that data visualisations were mostly used as top-down tools to frame the process rather than objects mobilised for discussion. The findings highlight the need for more participatory approaches in the data work done in climate assemblies, in line with the democratic principles of participation underlying those processes.

Infographics are an important tool for governments to provide public information to citizens. Digital infographics can present information in various ways within a coherent whole, enabling different types of information, with varying levels of complexity, to reach the population. This study aims to assess the potential of infographics as a tool to support communication and the promotion of public policies aimed at women. To this end, infographics on public policies for women were created and tested. The design of the infographics was based on a literature review, analysis of existing infographics, and feminist principles. The empirical tests included participants from different educational levels and age groups. The results indicate that infographics can be used by governments as an effective tool to communicate and promote public policies for women; however, they seem to be more difficult to use for women with lower levels of education.

The furniture industry is currently facing profound environmental and systemic challenges that demand radical transformation. Servitisation, understood as the shift from selling products to delivering value through integrated product–service systems, offers a potential pathway to foster circularity and long-term competitiveness. However, this change requires the adaptation and integration of circularity strategies within the sector. Strategic Design and Transition Design can provide solid theoretical and practical foundations to support this integration. Therefore, this article explores how participatory processes supported by design can assist companies in co-defining circular strategies through servitisation. Using Participatory Action Research within a leading Italian furniture manufacturer, the study proposes a process involving a series of collaborative workshops to map system dynamics, envision future scenarios, and define actionable directions. The process revealed both tangible and intangible strategic design outcomes. The process proposed highlights the potential of Strategic and Transition Design to guide businesses through design-led circular transitions.

Environmental, Social, and Governance (ESG) in organisations is often reduced to metric-driven compliance, overlooking the collective sensemaking required for systemic transformation. Through a longitudinal case study, we traced the evolution of ESG strategy and sensemaking processes across organisational layers. The study highlights (i) the nature of reflection determined by role, (ii) three recurring types of reflection, and (iii) the key transitions that marked the ESG journey in the case company. The results indicate that structured reflection can connect measurement with meaning, transforming ESG into a co-created learning system. These findings inform the Reflective ESG Learning Framework (R-ESG-LF), a learning infrastructure that positions guided reflection as a core design capability for long-term organisational learning. With structure, ESG becomes an opportunity for cross-level alignment and adaptive change. The research contributes to design transitions by formalising reflection as a mechanism for participatory alignment and adaptive change, bridging the gap between governance and practice.

A research project conducted in a major appliance company investigates how Ecodesign, when implemented through a design-led and cross-functional process, can evolve from a technical activity into a catalyst for organisational transformation. The study examines the application of a company-specific Ecodesign tool designed to guide product development teams and support adaptive change. A conceptual framework integrating Design-Led Innovation, Dynamic Capabilities, and the Multi-Level Perspective is adopted to interpret how design mediates learning across functions. The paper focuses on the Seize phase, when Ecodesign is integrated into new product development routines through pilot projects. These pilots act as experimental settings in which cross-functional teams apply the Ecodesign tool to align design decisions with sustainability objectives, fostering the integration of new practices, routines and collaborative capabilities. The findings highlight major barriers and emerging opportunities to further scale Ecodesign implementation and build organisational readiness for sustainability-oriented transformation.

Robotaxi services are expanding rapidly, but interior cleanliness, valued by passengers, remains a critical weak link. This study examines embedding the Automated Robotaxi Interior Space Cleaning (ARISC) framework in existing operations via a product service system (PSS) architecture without reducing fleet availability. Methodologically, frame innovation is undertaken from companies’ internal processes and governance: first, the study benchmarks DiDi Autonomous Driving, Baidu’s Apollo Go, and SAIC Mobility Robotaxi, and maps existing Robotaxi service systems; second, eleven semi structured interviews with cleaning providers, company staff, and passengers yield 384 records indicating functional needs (air circulation, surface cleaning, waste removal) and value needs (trust, hygiene, convenience); finally, ARISC is proposed and its embedding pathway illustrated through a service blueprint. Viewed through a PSS lens, the framework organizes cross functional collaboration, provides operators a systemic transformation pathway, and guides management toward service strategies for long term competitiveness.

Organizations are increasingly immersed in automation programs aimed at enhancing operational efficiency, yet these initiatives fundamentally impact and reshape traditional workplaces. Prior research has examined automation's effects on workers who directly interact with it, but less attention has been given to how broader worker ecosystems are impacted. To address this gap, we investigate an autonomous shuttle bus project at an international airport. We conduct an interview study with nine external experts holding prior experience in similar automation contexts. To engage participants in discussing the impacts of a future autonomous bus operation, we utilize systemic design as a lens and conduct co-design activities with them. Our findings surface key tasks, responsibilities, scenarios, and implementation considerations that affect workers within the broader ecosystem. Through this empirical case, we intend to move beyond techno-centric approaches to automation and illustrate the value of incorporating systemic perspectives in worker-centered automation efforts.

This paper is based on interviews with 20 expert industrial designers with 8-40+ years of experience about how they are adopting generative AI into their workflows. Using thematic analysis, the study reveals how top-down pressure for speed and efficiency drives rapid, bottom-up adoption of generative AI tools. The core finding is that in this scramble for adoption, designers and design businesses risk cognitive offloading and significant loss of control over micro-decisions in key parts of the design process. By critically examining the potential loss of control and reflection, the inquiry explores how the value of industrial design work extends far beyond generating contextless output and what consequences this has for generative AI implementation. The investigation concludes with an actionable roadmap for decision-makers in industrial design businesses, considering when to adopt generative AI.

Games are common artefacts and systems for design research, appearing as engagement tools with publics or specific audiences, expressions of ideas, and as tools for speculation. Games have proven value as instruments or outputs supporting this work, but the process of designing games is rarely centered as a moment of production of new knowledge and understanding. Taking inspiration from Research through Design more broadly, we position Research through Game Design as an approach that delineates space to challenge systems, break from norms, provoke, critique, explore, experiment, critically design, and reflect on the frictions and boundaries of ideas, artefacts, and systems. This paper is for people interested in, or who already are, designing games as part of their research. Through four games it explores what research looks like during the game design process, and how knowledge and insight from within that process can be captured and communicated.

Design fixation - the unconscious adherence to familiar design patterns that limit creative exploration - remains a challenge for creative practitioners despite advances in the development of creativity support tools. While recent work in design research has explored how large language models can augment human creativity, evidence suggests these systems may exacerbate fixation. We propose machine unlearning as a novel approach to mitigating fixation in human-AI creative collaboration. Unlike fine-tuning methods that expand a model's knowledge base, unlearning removes specific concepts to create productive gaps in the model's representational space. Responding to findings that semantic constraints on prompt composition alleviate fixation, we apply this method in our pilot study presenting a modified large language model in which the concept of 'the chair' has been strategically removed. We find that interacting with this model forces users to re-articulate design problems in novel ways, preventing convergence on familiar directions during ideation.

Artificial Intelligence is increasingly embedded in creative and spatial design processes, transforming how ideas are visualized and interpreted. This study examines how generative AI tools influence children’s imagination and articulation of spatial design preferences for schools in India. In a context where school environments are often standardized and children’s perspectives remain marginalized, participatory workshops with primary-school students engaged them in describing, writing, and generating AI-assisted images to express their visions for school spaces. The process revealed both the potential and the limits of AI-driven visualization. While AI expanded imagination and made ideas instantly visible, it also reproduced globalized aesthetics detached from local cultural realities. Children’s reflections revealed awareness of context, identity, and authorship, showing how algorithms mediate creativity and the cultural imagination of space. The study positions generative visualization as both a catalyst and a constraint in participatory spatial design, calling for critical engagement with biases embedded in algorithmic processes.

This paper examines how the aesthetics of design is being redefined by the embodiment of intelligent and interactive technologies within the framework of cognitive semiotics. Interpretation—understood as semiosis—is conceived as the fundamental process of meaning-making, through which user and artifact dynamically co-produce sense. Two modes of semiosis are distinguished: motor interpretation, grounded in the embodied incorporation of objects as extensions of the body, and cognitive interpretation, based on inferential and cooperative meaning construction. In traditional design, aesthetics either supports functional embodiment or serves decorative representation. In AI-equipped artifacts, however, function becomes distal, executed at a cognitive distance. Consequently, affordance shifts from enabling physical use to enabling cognitive interpretation, producing a new aesthetic condition based on the user’s interpretive participation. Drawing on Umberto Eco’s theory of interpretive cooperation, the paper argues that design aesthetics is being redefined as a process of cognitive cooperation between artifact and interpreter.

As interaction design increasingly bridges the digital and physical realms, exemplified by tangible and embodied interaction, a clear understanding of "physicality" is critical. However, the concept remains ambiguous within the interaction between humans and artifacts, lacking a systematic understanding to guide research and practice. This research applies Rodgers' evolutionary concept analysis, guided by three etymological meanings of "physical", to conduct a hybrid thematic analysis of literature from interaction, ergonomics, and design. The findings suggest that physicality is understood through a structured framework of five core attributes: material substantiality, perceptibility, two-way interaction, embodied correlation, and affordance. This preliminary framework elucidates the specific attributes and interrelations of physicality within human–artifact interaction. It illustrates how physicality is expressed in the human–artifact relationship and provides a foundational concept, serving as a structured fulcrum for its exploration and application in interaction design.

This paper reframes computation as a design practice rather than a technological application. Through the construction of mechanical computing artifacts that harness environmental energy and material constraints, it demonstrates how designing can become a form of computational inquiry. The work positions architecture as a discipline capable of foundational contributions to computation by treating material, geometry, and energy as active agents of logic and memory. The study advances two main contributions: 1) It reconceptualizes computation as a physical and architectural phenomenon rather than a symbolic or digital one. 2) It demonstrates, through a pedagogical experiment, that computation can be enacted and understood through material and tectonic design, making it a foundational mode of architectural reasoning.

Cuia Colab emerged from a design research project seeking to explore whether biodesign practices in the Amazon could foster equitable exchanges between traditional knowledge and contemporary design. The research combined theoretical and empirical methods, beginning with a literature review and a case study focused on the cuias of Santarém. Subsequent stages involved active field investigation through observation, collaboration with traditional cuia artisans, biodesign experiments integrating living organisms, and a co-created exhibition. Grounded in a situated, multispecies, and pluriversal approach, Cuia Colab revealed both the challenges and possibilities of establishing ethical and reciprocal relations between design and the Amazonian context. The study argues that such exchanges require overcoming epistemological hierarchies and aligning the interests of all agents involved—human and nonhuman alike—thereby positioning design as a practice of care, co-authorship, and ecological interdependence.

Designing and researching across multiple knowledge systems requires vigilant negotiation, reflexivity and care. These dynamics are heightened on the lands now called Australia, where settler-colonial researchers (such as the authors) engage with diverse Indigenous knowledge systems. We examine how our own ways of being and knowing come into relation with others, surfacing tensions that shape the role of pluriversal design within our situated practices. We critique reconciliation narratives that risk reaffirming colonial hierarchies by positioning reconciliation as a destination, or a reconciling between binaries of Indigenous and non-Indigenous knowledges. We argue, instead, for embracing generative tensions as openings for dialogue. Drawing on two case studies engaging Indigenous perspectives within dominant Anglophone frameworks, we reflect on thresholds to knowledge and how practices at the cultural interface can be supported by pluriversal approaches. We offer relational and accountable insights for designers embedded in the constancy of onto-epistemic plurality.

This paper presents a practice-based approach to designing a platform for creative and deliberative citizen participation, grounded in observations of how people deliberate face-to-face. Insights from these observations informed the design, enabling the platform to mirror and extend in-person dynamics. Because deliberative processes are diverse and serve multiple purposes, taking them online requires a modular architecture, diverse deliberation tools, and flexible moderation. Participation processes also evolve during execution, so the platform was designed for adaptability, allowing moderators to respond to emerging dynamics and changing needs. The paper discusses and evaluates several practical cases demonstrating the platform’s application. Finally, it reflects on how integrating generative AI can strengthen deliberation by managing information overload, supporting moderation, and improving accessibility—for example, through automated translation—and by helping participants stay informed through document and dialogue summarisation.

This article explores mapping as an experimental design practice that emerges from the intersection of ecosystems, technologies, and communities. Grounded in the Powers of Ten model and the Fab City Full Stack framework, our approach combines multi-scale observation- ranging from local infrastructures to bioregional systems- to capture ecological, material, and social data that reveal the interdependencies shaping territories. The work focuses on detecting weak signals of hyperlocal phenomena, often overlooked shifts in ecological or social systems, that can guide an iterative prototyping process. In this way, mapping becomes a generative act, tracing connections between citizens' behaviors, environmental conditions, and material resources within a continuous feedback loop of interpretation and intervention. A coastal village case study in Serangan, Bali demonstrates how multi-scalar geospatial observations can function as boundary objects that support community-led design interventions.

This paper reorients Design Futures through hope as a situated, anticipatory, and actionable practice for working within postnormal conditions marked by uncertainty, systemic crisis, and defuturing. Bringing together futures studies, feminist epistemologies, and decolonial perspectives, it argues that design can help imagine and enact alternatives through situated interventions. The paper develops a conceptual and reflexive methodology that synthesizes three strands of literature; hope, hope and design, and hope and futures, and formulates three tactics for operationalizing hope in design practice: hoping as present-tense praxis, hoping otherwise, and projectual hope. Together, these frame hope as an ethical and political orientation that works through care, critique, imagination, and collective world-making. The paper positions uncertainty as design material and shows how hopeful design can expand what counts as imaginable and actionable within plural futures. In doing so, it proposes an ecology of hope in which design sustains the not-yet as a shared responsibility.

This paper is part of an ongoing collaboration between a French design school and a food-producing farm engaged in peasant struggles, conceived as a “rural third place”. Each year, design students immerse themselves on-site, testing their knowledge through collective experimentation. Our heterogeneous pedagogical team—composed of design professors, the farming couple, and a collaborating designer—is in a continuous learning position, exchanging perspectives on education. Because relationality is central to this experience, and to equiponderate all voices, we decided this paper should take the form of a curated conversation. We explore the intersections and tensions between popular education practiced on the farm and formal design education: What commons sustain our collaboration? Where do our paradigms friction? How might popular education address blind spots within design pedagogy? Beyond position statements, this plurivocal experiment seeks to expand academic discourse by legitimizing marginalized forms of knowledge.

This paper investigates how the concept of "industry" was received, interpreted, and localized in early modern China from the late eighteenth century to the early twentieth century. Drawing on historical accounts from the Self-Strengthening Movement to the New Culture Movement, it reveals how industrial ideas, initially tied to military and technological modernization, gradually evolved into a broader discourse on national progress and social reform. The study argues that this intellectual translation of "industry" laid the groundwork for the emergence of modern Chinese design consciousness. By examining the intersections between industrial policy, low-level industrialization, and cultural transformation, the paper situates China's early industrial imagination within a global context, highlighting its philosophical significance for the genealogy of modern design in East Asia.

This paper traces the historical and conceptual role of the black box as a diagrammatic figure in planning theory. Emerging from pre-war radio circuit jargon, and first theorized in cybernetics, the black box articulated a productive tension: it acknowledged the indeterminacy of future contingencies whilst concealing moments of executive discretion. Alongside cybernetics, the black box became an omnipresent yet elusive figure in 1960s and 70s spatial planning. Against the backdrop of contemporary debates on explainable AI (XAI), this history has acquired renewed significance for designers. Examining a corpus of planning diagrams produced over fifty years ago, the paper shows how black boxes functioned both as heuristic instruments and as sites of epistemic constriction. The black box variations reveal how spatial planning negotiated between automation and human judgement for decades before current AI debates. Revisiting this historical figure recontextualizes how design

Tracing the emergence of neoliberalism, Michel Foucault introduced the concept of environmentality to describe a form of power in which control is exercised through the design of an increasingly technologically mediated environment to ensure economic circulation. Decades in, environmentality has reshaped how our habitats are conceptualized, designed, and perceived. In many levels, design has stopped being an independent autonomous task to be integrated and automated within the operative nature of our milieux. This integrated design operates through infrastructural semiotics, i.e. texts, codes, guidelines, indicators, benchmarks and protocols as well as other ecologies of biological, social and machinic signs like notifications and nudges that do not represent space but actively organize matter, orienting bodies and shaping the spaces of possibility around them. This article begins by conceptualizing and historicizing environmentality's integrated design and concludes with an analysis of ISO standards as infrastructural semiotics with world-making agency.

Design systems are foundational in the design of user experience (UX) across platforms and products. Although design systems have become pervasive in design practice, the term remains ambiguous due to multiple definitions and conceptualizations. The lack of a shared definition can lead to misunderstandings and ill-aligned uses of design systems in practice, vulnerable to the same issues of parallel activities and inconsistencies that design systems are meant to prevent. This paper reviews the concept from the term’s origin in design theory and into its current practice and proposes a new frame of reference for researchers and practitioners, focusing on improved terminological clarity and consistency. The main contribution is a conceptual framework of elements, properties, and agents as features always present in a design system. The paper discusses this framework as a resource in design research and practice.

This paper introduces and applies Marshall McLuhan’s Tetrad model, grounded in critical media studies, as an interpretative framework for analysing corporate concept videos as design fictions. Through a close reading of seven videos, we identify three recurring themes: present as future, the rhetoric of the new and socio-economic utopia. In parallel, the two diagonals of the Tetrad reveal contrasting orientations: the enhances-obsolesces diagonal reflects a corporate anticipatory (non-radical) future, whereas the retrieves-reverses diagonal is more critical and disruptive. We discuss figure-ground reversal as a key strategy for historicising corporate concept videos and suggest how the Tetrad can foster historical reflexivity in speculative design.

This paper offers a speculative critique of contemporary design practice through the lens of Lovecraftian horror by critically interrogating assumptions embedded in user-centered design theory. Drawing on the oeuvre of 'weird fiction' author H.P. Lovecraft’s cosmically pessimistic mythologies, this paper explores three thematic dimensions - control, user unknowability, alien materiality - to reveal the limitations of human-centred design paradigms. Utlising examples from literature, film, and everyday experience, this critique demonstrates how design’s aspirational narratives, centered on mastery, empathy, and progress, are increasingly inadequate in addressing the complexities of a more-than-human world. The concept of 'user-centered dread' emerges as a central provocation, highlighting how users are led into states of incomprehension and even terror through supposedly benign design work; design itself becoming a site horror. By framing design as a speculative interface with the Lovecraftian inhuman, the paper graphically reimages aspects of design-thinking that can potentially challenge this pessimism and slay Lovecraft's monsters.

Design is evolving from primarily human-centred approaches towards planetary concerns that re-centre more-than-human agency – a perspective that correlates with pressing ecological challenges emerging from global anthropogenic impacts. Against this backdrop, design education that equips graduates with the competencies to engage present and future complex socioecological challenges continue to develop. The authors discuss interconnected drivers that are shaping the wider field and advancing designers' roles before presenting a pedagogical model that supports design students to engage in academic-industry-community collaboration and forms of making to materialise complex systems and evolving epistemologies in accessible and tangible ways. The authors offer insights into how future educators and graduates might design with myriad forms of intelligence – human, artificial and ecological – to navigate poly-crisis issues such as the energy transition and nature restoration. These graduate attributes are positioned as an agile material practice, capable of advancing design for regenerative and just climate futures.

This paper investigates what it means to notice in practice. Carrying out field research situated on the edge of the River Taff, Cardiff, we interrogate what it means to notice through a more-than-human centred lens. We arrive at ‘noticing’ as a method from two different perspectives: ethnography and design. Utilising concepts from assemblage theory, deep time thinking and technological entanglement theory, we extend upon scholarly interpretations of noticing through autoethnographic accounts. Our choice of non-human participant (i.e. a river) forces us to consider more-than-human temporalities, geological time and the longue durée. We think about the ways in which technology disrupts our ability to be present and fully commit to ‘river time’. Similarly, we unravel subconscious hierarchies of knowledge and the urge to rely on scientific understandings. Finally, we reflect on our own noticing as a method alongside the ethics of engaging a non-human participant.

Eggshell waste, designated by the EPA as the 15th largest food-based pollutant, is reimagined here as a regenerative material through circular and reciprocal design practices. This research explores how discarded eggshells can be transformed into bioplastics, coatings, and modular construction elements. The project integrates ecological theory (Haraway’s “response-ability,” Kimmerer’s reciprocity) with hands-on material experimentation across diverse geographies, including India and Europe. Emphasizing student-led, non-hierarchical learning, it cultivates ecological care and interdependence between human and more-than-human worlds. Installations, workshops, and collaborations with local experts support regenerative construction practices rooted in local materials and needs. By challenging extractive, linear waste systems, the project aligns with the DRS2026 theme of Transitional Materialities, treating waste as offering and design as a practice of renewal. It proposes a speculative yet grounded approach to sustainable material futures: where fragility becomes a source of strength and design nurtures planetary repair.

Current human-computer interaction and more-than-human design increasingly emphasize affective experiences emerging from the dynamic interplay between humans and their environments. However, research in this domain remains largely anthropocentric, often translating non-human emotions in anthropomorphic terms and thereby neglecting their distinctive affective expressions and relational nuances. This paper draws on classical Chinese poetry, renowned for its profound sensory and affective engagement with nature, to analyze how nonhuman entities convey complex emotions such as tranquility, melancholy, and transience. Using grounded theory, we systematically code and categorize the representations of Shui (水, Water), flora, and fauna in poetic excerpts that convey specific affective states. Building on these insights, we propose a design framework that connects material and environmental cues with human affective experience. The main contributions include: (1) mapping nonhuman entities to corresponding emotional qualities; (2) establishing a cross-cultural affective design framework; and (3) demonstrating its practical and theoretical value through more-than-human design cases.

This practice-based research project presents BLX, a series of mycelium-based educational toys. Shaped like inflated building blocks, BLX invites children (early years to primary education) to construct playful structures whilst materialising biological and anthropogenic circularity through design. Unlike plastic toys that embody permanence, BLX can be played with, composted, or repurposed as plant pots—rendering regenerative processes tangible. Drawing on speculative design and material studies, the project positions mycelium as both educational medium and more-than-human collaborator. By embracing decay as (re-)generative, BLX challenges material cultures of permanence and offers children embodied encounters with temporality and transformation. This contribution is threefold: methodological by designing with living materials for pedagogy, conceptual by reframing temporality as pedagogical, and material by emancipating mycelium as an educational agent.