Conference Agenda

This research is guided by the general question: Why do foods have the forms they do, and what is the best form for a particular food? The possible answers are multiple and complex, and involve a mix of factors, starting with ingredients and their transformative technologies, immersed in geographical and cultural contexts, informed by the customs, needs, tastes, and food functions of each place and time. These factors, and the interactions between them, constitute the determinants of a particular food's shape or form. Food morphology is defined by the author as the study of the generation, transformation and reading of designed foods, considering their function and meaning, understanding the interaction between edible ingredients and their processing technologies to reach optimal forms.

Restaurants face the challenge of lacking systematic integration pathways in their sustainability transition (ST), struggling to fully incorporate sustainable principles throughout their operational systems. In this context, menu design demonstrates significant potential as a strategic tool to drive comprehensive ST. This study employs Goffman's dramaturgical theory to conceptualize restaurants as "social theaters," examining how menus function as "scripts" to systematically drive ST. Through analysis of eight representative cases, the research: 1) develops an integrated framework comprising three strategic dimensions, including nine key design intervention tactics that provide concrete implementation pathways for restaurant ST; 2) reveals three agency mechanisms of menus, theoretically elucidating the operational alignment logic and core value propositions required to drive ST in restaurants. The study reconstructs discrete menu design elements into an agentic "performance system," providing both theoretical foundation and practical pathways for the catering industry to achieve substantive ST.

In light of the escalating climate and resource crises, design education must reconsider its role in shaping circular and regenerative futures, particularly with regard to emerging materials from waste. This paper presents the results of a pedagogical study conducted at the Joint School of Design and Innovation of Xi’an Jiaotong University and Politecnico di Milano. In this study, 120 students transformed local food and textile waste into new materials through hands-on experimentation, based on the Material Driven Design (MDD) approach, in a Chinese educational context. A comparative analysis of six student projects across toy and accessory applications reveals a synergy between the MDD approach and narratives of waste-based materials, articulated through socio-ecological and cultural-geographic forms of engagement. The findings demonstrate that MDD can activate two distinct local waste streams as resources for circularity and regeneration while facilitating material exploration, design application and pedagogical reflection in contemporary design education.

This paper examines the transformation of traditional Turkish desserts into contemporary industrial food products through the framework of transformational design. Grounded in the premise that food functions not only as a biological necessity but also as a carrier of cultural memory, identity, and social meaning, the study explores how traditional foods can be reinterpreted within modern production systems, consumption patterns, and sustainability expectations. Drawing on student projects from a food design course in an industrial design department during the 2024–2025 academic year, the research analyzes how desserts are redesigned according to industrial constraints and contemporary lifestyles. Using thematic analysis, findings show that each product reflects cultural, systemic, and behavioral transformations, confirming the interconnected nature of transformational design. The results support the concept of food’s “transformative nature” (Daou & Sarantou, 2025), demonstrating its role in reshaping identity and social interaction. The study contributes to discussions on cultural sustainability, food design and industrial design.

The current research explores the intersection of archives, history, food, and performance. Based on a case study from Løp Gård, a museum site within Nordlandsmuseet in Norway, the museum performance director (museumsregissør in Norwegian) Barbro Laxaa has developed a book that presents historical recipes created by former generations of Løp Gård’s owners. Laxaa explores methods of performing memory and the spirituality of place, positioning food as a catalyst that unites the lived experience of audiences with archival material and historical recipes rooted in the site.

The method of this study is artistic research, which has led to the development of a conceptual framework for the book of recipes from Løp Gård.

The theoretical framework of this study spans concepts such as historical food-making, archives, spirituality, Nordic traditional food, and performance. The findings include recommendations on how forgotten traditions and archival recipes can be revitalized through performative practices.

Biobased composites, which are sustainable materials ideally poised to replace fossil-based raw materials, paradoxically are struggling to gain market acceptance. This underperformance is attributed to poor demand and acceptance of biobased composites, driven by technical and perceptual challenges. However, most research on biobased composites focuses on addressing technical challenges and fails to incorporate perceptual qualities into the material development process. By understanding the role of material characteristics (colour, patterns, texture, roughness) in shaping these qualities, we propose that novel biobased composites could be developed to meet specific consumer product needs. A prediction model for generating the desired material perception could help develop novel, sustainable materials that are perceptually appealing to consumers. This paper proposes a modified material design process based on consumer perception. This new process can help material engineers and product designers create new biobased materials that align with the emotional demands of the product segment and user experience.

Designers today are actively engaging with experimentation and innovation of bio-materials derived from living matter, foregrounding the interrelationship between biological processes, material design, and ecological responsibility. In this context, workspaces that provide conditions to design with living organisms become especially crucial to leverage their transitional material potentials. Grounded upon a 24-month research-through-design study, this paper discusses the ground-up infrastructuring work of establishing a biodesign workspace to support designing with living matter in a university setting. I highlight the emergent nature of such endeavour, including the continuous alignment, containment, and care and maintenance work necessary for growing a provisional intervention into a dedicated workspace. In so doing, this study contributes to the call for transitional materialities by foregrounding infrastructuring work of designers as a crucial component in expanding engagement with dynamic material agents.

In Made in Italy products, the material dimension represents a distinctive element, capable of expressing both the quality of the product and the heritage of craftsmanship embedded in the territory. In the upholstered furniture sector materials generate significant environmental and supply-chain impacts, making their selection a strategic leverage point for sustainability and circularity. This study investigates how a digital material library can support designers and SMEs in navigating this transition by integrating sustainable innovation with industrial feasibility. Grounded in the Advanced Design framework, the research adopts a four-step methodology to analyse the current supply system, identify circular alternatives, review existing material libraries, and develop a dedicated relational database. The resulting prototype organises materials into clusters that combine technical, sensory, circular, and production-related attributes. The digital material library aims to act both as a decision-support tool and as a knowledge infrastructure enabling systemic circular practices in the upholstered furniture sector.

Each material production entails an ecosystem of interrelations linking geopolitical, economic, technological, cultural, social and sanitary dimensions, sometimes on a global scale. As designers, we are rarely conscious of these realities, and limit our actions to material selection at the scale of the artefact in constrained industrial and cultural settings. However, at a time of ecological crisis, tracking, revealing and understanding these complex systems is becoming an imperative if we are to transition towards resilient futures rooted in socio-economic realities. This article will present a pedagogical approach developed with Design Research MA students, where investigation and speculation stem from a given material. The authors discuss the types of issues encountered, such as the study of "proprietary materials", "promising materials" and "information materials", as well as ways to extend and deploy this approach in other educational or research contexts.

Eco material libraries are emerging in design education as more than repositories of samples. We define them as pedagogical material infrastructures that combine samples, recipes, documentation, and situated curation to support hands-on experimentation and reflection. Drawing on two case studies at the University of California Davis and Amsterdam University of Applied Sciences, we examine how these libraries are built, maintained, and engaged in practice through interviews with faculty curators and a preliminary student survey. Across both sites, the findings suggest that eco material libraries extend conventional material-library models by linking material selection to making, comparison, documentation, and student contribution. They function as dynamic infrastructures connecting material experimentation, teaching, and sustainability discourse, while making material temporality and ecological implications tangible in design education. Eco material libraries support material literacy and biodesign pedagogy through reflective, relational, and process-based engagement with transitional materials.

This paper examines biobased materials as agents of creative and systemic transformation within design practice. Drawing from a university course on circular building product design, several graduation theses, and two research projects -one focused on food waste valorisation and another on load-bearing mycelium composites- it investigates how engagement with biobased, regenerative materials reconfigures the designer’s role across the value chain, from sourcing to post-use reintegration. By situating material experimentation within ecological and socio-technical transitions, the paper argues that biobased materials enable a re-materialisation of design knowledge, where making becomes a mode of inquiry into interdependencies between nature, technology, and culture. These practices reposition material agency as a co-creative force, expanding the epistemic and ethical dimensions of design towards circularity, resilience, and care. Ultimately, the paper proposes that such engagements cultivate new forms of creative practice grounded in regeneration and relational materiality.

In response to escalating planetary challenges, circular bioeconomy frameworks are increasingly vital for sustainable resource management. Biomineralisation, a natural process in which organisms produce inorganic materials, has been extensively studied in engineering but remains underutilised in circular product design. This paper investigates systematic material experimentation with photosynthetic biomineralisation across diverse waste substrates for circular product design. Through a practice-based biodesign methodology integrating biological protocols with design experimentation, the study developed a material sample collection of eleven waste substrates biomineralised by cyanobacteria. The findings reveal that the type of waste substrate influences material formation, consolidation, and aesthetic qualities, informing distinct design potentials. By translating circular bioeconomy frameworks into design practices, this research expands the potential of photosynthetic biomineralisation approaches within biodesign. It demonstrates how design inquiry can mediate between scientific and creative practices to generate new material knowledge for circular futures.

This paper highlights temporality as an important more-than-human design strategy and expands multiple lenses for engaging with the temporal complexity of more-than-human. Reflecting on the dominance of anthropocentric and industrial notions of time in design, we choose plant as a paradigmatic case for otherly temporality. We take stock from interdisciplinary literatures and introduce six temporal lenses: rhythm, horizon, continuity, duration, genealogy, and incompleteness, to articulate how plants live, change, and relate through multiple overlapping temporalities. Connecting these lenses to human-plant interaction design practice, these temporal lenses enables designers to recognize temporal frictions, attend to vegetal rhythms, and cultivate responsive and situated design practices. The lenses serve as a conceptual framework for engaging with plants and other more-than-human temporalities in design processes. Ultimately, this study positions temporality as a key strategy for decentering the human in design and reimagining design as cohabitation and becoming.

This paper explores how design practices involving biomaterials can promote attuning within more-than-human temporalities. Drawing on two comparative case studies working with decomposing organisms to make and unmake materials, it examines how growth and decay unfold across different ecological timescales. Through concepts of noticing, pace, and rhythm, the studies explore how designers negotiate when to pause, accelerate, or distribute agency within multispecies collaborations. Rather than treating biomaterials as substitutes for synthetics, the paper positions them as temporal components of ecosystems shaped by humidity, temperature, and microbial diversity. Attuning emerges as a practice of more-than-human coordination and care. The findings contribute to temporal design discourse by testing theoretical promises against the pressures of practice, revealing tensions that scholarly discussion alone cannot anticipate. The paper proposes rhythm and pace as practical navigational tools through which designers can communicate ecological temporalities to clients and position themselves as facilitators of more-than-human processes.

An emerging dimension of multispecies design is the effort to attune to new sensory entanglements with the more-than-human world that foreground the alternative temporalities of multispecies life. Adding to such approaches, in this paper we want to emphasise that there is an incommensurability between the timeframes of organisms and those of human ways of thinking about time and of capitalist production. Indeed, multispecies design involves trying to work with alternative timeframes that necessarily disrupt dominant rhythms of design and production. Exploring a set of encounters with fungal time, we consider how such experiments have the capacity to plunge us into the rhythms of another organism and into the temporal ecologies of multispecies life. Rather than cultivating a romanticised sense of connection to nature, we argue, often more important is the way such encounters highlight the limits of such a sensibility: in moments of frustrated waiting, disappointment, or unexpected happenings.

In this paper we present "Plant-disco", an interactive physical design object that seeks to make activities in soil (e.g. bugs and plant growth) sensible to humans. With this, we discuss how more-than-human temporalities come to surface (such as plant, soil, microorganisms and machine) and how this creates friction in our human perception of time and interaction. The central aspect of the paper is to discuss how the design, as a result of trying to extend human appreciation of nature into soil, also intervenes in human temporalities by engaging with the seemingly slow pace of nature at a time where most digital technologies primarily seek to stimulate fast-paced sensing. Grounded in more-than-human concerns in design, we discuss some of our design choices as well as the theoretical underpinnings of different temporalities and use this to explore how the design seeks to mediate this tension between the slow and the fast-paced.

This paper reimagines material catalogues not as static inventories but as archives of deep-time and affect: tools for sensing, caring for, and reconfiguring our relationships with the more-than-human world. It presents Tagus estuary colour swatch, a Research-through-Design exploration in which bio-pigments derived from local plant, mineral, algal, and waste streams form a colour palette embodying the estuary’s ecological rhythms. The project reframes materials beyond inert resources but rather as affective mediators of and for more-than-human temporalities – by embodying and expressing temporal processes and by enabling designers and audiences to engage with them. Positioned against the extractivist legacy of traditional catalogues, the research is framed within a wider shift in design that proposes alternative bioregional approaches valuing provenance, affective relations, and care. By revealing materials’ more-than-human narratives, the research demonstrates how design tools can cultivate awareness, empathy, and connection across humans, landscapes, and the temporalities they share.

Amid the intensifying challenges of climate change, there is an emerging consensus within coastal academic and practitioner networks on the importance of integrating design led-approaches that enhance resilience and foster the long-term adaptation for coastal communities.

However, coastal environments present peculiar contexts for design actions, as the movement of water consistently challenges the boundaries between water and land, along with the relational interactions between human and non-human communities—both in cyclical and unpredictable ways. Drawing from the authors’ experiences in tidal coastal and estuarine areas across diverse geographies, this article proposes ways to cultivate design’s response-ability (Haraway, 2016) to the more-than-human temporalities of the sea and its pluriversal communities. Specifically, it argues for a seascape epistemology (Ingersoll, 2016) to engage with the fluidity of time and space in intertidal places, and reflects on how this could shape design actions and foster dialogues with plural ways-of-knowing beyond modernity.

A functioning circular economy relies on households recirculating products once they are no longer needed. However, households often accumulate products in wardrobes, cupboards, and other storage spaces. While contemporary design practices often reinforce this through encouraging new purchases and attachment, unlocking dormant products for reuse emerges as a new challenge for design. This paper draws on a systems analysis of how products move into, around, and sometimes out of the home, based on household interviews and visits. The analysis reveals how products slip out of use and become forgotten as stored mass, requiring significant effort to recirculate. We identify key leverage points where designers, together with circular economy stakeholders, can intervene to support increased product recirculation. Based on workshops with circular designers, we articulate and exemplify a set of design strategies, showing an expanded understanding of design’s role in enabling product circulation within the deeper layers of everyday life.

This paper examines how systemic designers in health navigate plural perspectives and overlapping quality regimes. We introduce the Playground of Design as four interconnected spaces of problem, design, change, and solution, together with four R’s, Rapidness, Rigour, Relevance, and Resonance, as conversational lenses for articulating design rationale in plural settings. Two Dutch cases illustrate this approach. Bias Blaster, a serious game for adolescents recovering from psychosis, is reread retrospectively to reconstruct systemic design rationale. E-Health Junior, a long-running e-health consortium, is reconstructed through interviews and translated into a pedagogical workshop for perspective-taking. We argue that combining the Playground of Design with the four R’s helps make systemic design rationale more explicit and discussable, enabling designers and educators to engage plural quality regimes without flattening their differences.

Food waste presents a significant global environmental and economic challenge. Australian households are responsible for 40% of discarded food, with unclear date labelling and storage advice creating consumer confusion, contributing to the problem. This research employed systems thinking and pluralism to address consumer confusion. A multi-level analytical framework integrating visual grammar, symbolic interactionism, and activity theory examined semiotic dimensions, interactions, and system behaviours within the food packaging system. Micro-level prototyping generated design concepts for date labels and storage advice. Meso-level collective intelligence-participatory design techniques evaluated the designs and brainstormed solutions. Scenario planning at the macro level used morphological analysis to generate insights and develop future scenarios. Findings reveal misaligned activity systems among consumers (assess), industry (communicate), and policymakers (regulate), highlighting the need for system-wide collaborative design rather than policy alone. This pluralist approach offers a replicable framework for tackling wicked design problems beyond food waste.

Donella Meadows’ concept of leverage points - places in complex systems where small shifts may lead to fundamental changes in the system as a whole - is gaining attention for developing a 'leverage points perspective' on systems transformation. Distinguishing a 'system of interest' as well as identifying 'where' and 'how' to intervene for 'whom' are all matters of practical relevance which remain to be properly addressed. We contribute an inquiry protocol to identify opportunities for design actions aiming to trigger transformation in complex human systems. Our system of interest for empirical study is the informal trade ecosystem at the borderlands of the East African Community. We describe the rationale and logic for methodological development of an inquiry protocol which sequentially integrates contextual research and user inquiry with open-ended exploration at inception to identify and describe intervention points. This deepens a previously contributed study from the same project to DRS 2018.

Smart Product-Service Systems (SPSS) design recognises the need to engage diverse stakeholders, yet traditional design approaches often overlook entities critical in the operationalisation of a SPSS - contextual users, regulators, AI entities - until late implementation stages. This paper argues that entity identification in SPSS design requires interrogating underlying assumptions about which entities matter and why. Drawing from systems thinking and human-centred design, the paper proposes a multi-dimensional framework for reconceptualising entities that warrant design consideration. Rather than presenting a neutral taxonomy, the framework provides structure for examining how design assumptions determine which perspectives are centred and which are overlooked in early-stage design process. Five functional entity categories are proposed, each representing different forms of participation in SPSS and different types of design relevance. The framework nudges designers to reflect critically on entity identification practices, creates a focus on the full ecosystem of entities on whose interdependence SPSS outcomes depend.

Innovation in textile production and usage is gaining momentum, driven by both the urgent need for sustainable solutions and rising technological maturity of embedded functionalities in textiles. Traditional linear models of production and consumption are increasingly being replaced by product-service systems (PSS) that can extend product lifecycles through maintenance, reuse, and digital integration. Realizing the full potential of such innovations requires addressing complex interdependencies which are currently lacking within the day-to-day reality of textile innovation projects. We recognize Causal Loop Diagrams (CLDs) for their potential to gain insight into these complexities, but their intricacy limits their use in practice. In this paper we use a specific case to introduce CLD adaptations that can serve as practice-oriented tools for three phases in complex textile product development trajectories. We discuss how the tools could be used by product innovation teams and suggest future work on these and similar practice-oriented tools.

This paper explores how care ethics, particularly Joan Tronto’s five dimensions of care, can enrich systemic design practices by embedding ethical and political reflections into co-design processes. The paper uses Tronto's framework as an ethical guide through the systemic design methodology of Jones and Van Ael and a retrospective case study involving children with incarcerated parents. It highlights how care ethics can guide designers in navigating complex relational dynamics, redistributing power, and fostering trust and responsiveness in co-creative processes. The study emphasizes the importance of designer positionality, expectation management, and co-ownership, especially when working with vulnerable groups. Ultimately, it proposes systemic design as a practice of care, offering conceptual foundations for more equitable and context-sensitive design interventions.

COVID-19 has left enduring emotional distress for many citizens even as public attention to the crisis has faded. In this context, participatory design (PD) is increasingly recognised as a dialogic and restorative practice that enables collective reflection and emotional recovery through shared meaning-making.

This study examines how participatory design supports citizens in reflecting on pandemic-related psychological distress, with particular attention to war metaphors widely used in governmental and media communications during COVID-19. While these metaphors mobilised collective action, they also intensified perceptions of risk and vulnerability.

The research is based on a year-long participatory design project, W&M, involving nine participants, including the author, who experience mysophobia. Through visual ethnography, reflective dialogue, and collaborative workshops, participants explored how personal anxieties intersected with crisis narratives.

The study proposes a four-stage framework—understanding, intervention, transformation, and impact—demonstrating participatory design’s potential to foster post-crisis reflection and collective emotional resilience.

In a world of increasing complexity, designers working in transitional spaces face blockages imposed by the dominant, locked-in capitalist mindset. Frustrated by the impediments in the systems we try to change, we were prompted to go deeper into the conditions for our change agency, as researchers focused on sustainability and long-term straddlers of industry and academia. As we asked how we can navigate being change agents within complex systems, we turned to becoming systems change pen pals, following the steps of a metadesign tool, which takes us from the remit of personal feelings to future perspectives and new vantage points for our respective and collective change work. This paper shares insights from this collaborative autoethnographic method. It proposes Pen-palling Systems Change as an accessible and agentic tool for change agents, as co-reflections are needed to extend our relatedness and care for the resilience required for long-term, complex change.

Self-management technologies help patients manage their health and improve autonomy by tracking biomedical data. For people with hormonal chronic conditions, these tools clarify complex, fluctuating symptoms. These technologies often rely on clinical data, overlooking the complexity and context of lived experiences, risking continued healthcare bias. This paper explores the lived experiences of people with chronic hormonal illness through a feminist ethics of care perspective. In collaborative sensemaking workshops, we unveiled how social and political contexts shape these experiences, the implicit politics of what data is valued (and what is not), and the socio-technical framing of self-management tools. Examining the intersections of care, justice, and ethics, we present a map of bias across social, healthcare, and technological contexts and consider how they influence power dynamics and healthcare interventions. Finally, we discuss how designers' engagement with chronic illness patients is an inherently political and relational act and offer suggestions for deeper participation.

Designers are increasingly called upon to address complex systemic crises, yet these expanding ambitions for impact risk overburdening both practitioners and students. This paper draws attention to the mounting pedagogical pressures within design education as students navigate problem-based, project-based, inquiry-based and transformative learning frameworks. I argue that as systemic aspirations for impact are integrated into curricula, the emotional and cognitive demands on learners intensify, threatening discovery, joy, and sustained engagement. Drawing upon care-based pedagogy and educational scaffolding, I propose approaches to support emerging designers learning to work amidst uncertainty, vulnerability and urgency. Positioned in contrast to design-for-transition literature that emphasises what and how we design, this paper focuses on who is designing and with what psychological resources. Without care-based scaffolding that endures, we risk reproducing the very crises we seek to address through design education itself.

This paper describes and presents a workshop conducted with partners of a European research project that reinterprets a former industrial site – now a small urban forest – as an Interspecies Playground, a living lab of multispecies coexistence. Through systemic design, more-than-human perspectives, and transdisciplinary collaboration among scientists, experts, designers, the municipality, and local communities, the project introduces a theoretical framework of relational ecology that seeks to challenge anthropocentric urban models and promote a new conception of green urban areas. By showing the project framework – articulated along the three interconnected layers of agents, phenomena, and contexts – and the validating workshops with partners, the paper draws on and supports the idea of design as an interspecies practice of regeneration, capable of bridging science, imagination, and collective participation to transcend anthropocentrism and foster new models of coexistence.

Consumer media devices routinely expose humans and environments to sensing and data capture while obscuring their own operations, supply chains, and ecological impacts. This paper asks how such devices might instead support planetary awareness with care and transparency. Working with Minamata, Japan, as a paradigmatic case, we combine more-than-human design, media archaeology, and research-through-design evidence-based fieldwork to develop the Ecological Encounters Codesheet (EEC): a granular method for coding encounters across temporal strata, containment forms, risk regimes, opacity sources, and care practices. Applying the EEC to Minamata’s infrastructures, memorials, archives, and tourist ecologies, we derive a set of Remembrance Lenses that function as a design orientation for media devices. We show how this foregrounds adjacency, risk awareness, and care-led limits, repositioning media devices as speak-through ecological remembrance artifacts.

This study examined the conditions under which multispecies convivial learning (MCL) can be established within the institutional setting of a Japanese public junior high school, and the kinds of transformations it enables. Integrating Participatory Action Research (PAR) and co-design, interventions A–E were conducted over 2023–2024. Reflexive thematic analysis revealed four interlinked elements—(1) self-understanding and expression, (2) sociality, (3) agency, and (4) co-creation with other species—which collectively transformed the classroom into an “ecological dialogic space” where humans and other living beings learn together. The study contributes by conceptualising MCL—previously under-theorised in public education—as a practice of redesigning relationships, and by specifying three implementation principles that support de-schooling from within: redistribution of authority, embedding relational sensibilities, and renewing evaluative language. These findings indicate that even within traditional school structures, multispecies convivial learning is feasible and can cultivate capacities essential for living in more-than-human, sustainable futures.

There is an increasing awareness of the importance of considering more-than-human (MtH) perspectives in the design of technology, especially in academia. However, to cause real-world impact, it is essential that such awareness is translated into practical action. One way to do so is by educating new designers to apply MtH perspectives. Teaching MtH to design students requires teachers to develop educational materials on the role that MtH perspectives play in design. Currently, there are not many examples of educational materials that teachers can take inspiration from. This paper therefore presents a collection of practical teaching activities to introduce students to the MtH field structured along a framework of four dimensions: Introduction, Assemblage, Constituency, and Application. Hopefully, the teaching activities, structured according to this framework, can offer teachers inspiration for how to sensitise their students and make them better prepared to become responsible technology designers able to address MtH perspectives.

This paper investigates the emergence of imagination as a participatory ecological process among children and adolescents in a deprived post-industrial area of Benwell, Newcastle upon Tyne, UK. Responding to ongoing debates about representation and agency in More-than-Human design, we advance an ecology of imagination as a theoretical framework. We situate imagination as a dynamic, evolving network of relations among diverse and ephemeral spatial-temporal actors. Drawing on a summer of ethnographic fieldwork, the paper analyses three examples of imaginative play to illustrate how spatial, material, and affective interactions generate conditions for collective creative play between humans and non-humans. The discussion explores imagination as an ecological, transformative and distributed capacity that reconfigures relations between people, place, and environment. In conclusion, the paper articulates implications for More-than-Human design practice, advocating situated, playful approaches to support the envisioning and inhabiting of more just and sustainable futures.

Representation tools in More-Than-Human Design (MTHD) are growing rapidly as researchers increasingly seek to include nonhuman perspectives in design. However, guidance for selecting, designing, and evaluating such tools is limited, leaving designers to navigate trade-offs in user-friendliness, empathy, and resources without a shared structure. While recent work has attempted to address this by introducing parameters for MTHD representation tools, their relevance and usefulness remain unexamined. We explore how these parameters resonate in practice through workshops with 12 MTHD researchers, demonstrating that the parameters serve as decision supports during design and use, as lenses for reflection, and as a shared vocabulary for communication. We discuss how participants treated them not as checklists but as flexible frames of reference that help articulate intentions and reflect on design practices. We also discuss a tension between ambiguity, which enables plurality, and structure, to help accumulate knowledge and advance the field.

Within this paper, a white, fat, queer, trans nonbinary designer and educator uses a critical autoethnographic approach to examine the ways in which they have centered fat bodies. This is done through examination of two experiences: a design project creating fat letterforms and a pedagogical activity discussing bias in AI where they say fat in the classroom. By examining each narrative using a defined procedure, the author analyzes how fatphobia and other systems have negatively influenced the inclusion of fat bodies within design. Their analysis thus produces specific takeaways of how to name and resist this system. Using this approach while highlighting the lack of literature regarding fat bodies and design, the author positions this paper toward expanding the design field to be inclusive of fat bodies. This work orients design toward equitable practices while resisting a growingly inequitable political and cultural climate in the USA and internationally.

Design is increasingly engaging with the body through soft systems, wearables, and responsive materials, exploring how material interactions shape experiences of care and inclusion. This paper examines the Age Gain Now Empathy System (AGNES) - a wearable suit simulating the chronic physical conditions and functional changes associated with older age - as a critical, soma-focused design intervention. Drawing on auto-ethnographic reflection and participant observation, we present a theoretical and methodological analysis. We argue that AGNES' critical materiality actively mediates how the ageing body is read and made visible, inviting embodied understanding and supporting co-creation partnerships. We analyse how this wearable shifts bodily perception and movement, serving as a tool to deconstruct normative assumptions about age and ability. Finally, we reflect on the ethics of employing a prosthetic system, offering AGNES as a model for how material-body interactions can resist extractive design practices and inform more inclusive approaches.

This paper explores how e-textile musical interface can reimagine the relationship between body and instrument from a feminist perspective. Drawing on a practice-based research project, the study examines how soft, deformable materials and embodied interaction can challenge the masculine-coded logic of control that dominates digital musical instrument (DMI) design. Constructed from knitted conductive textiles, the interface functions both as musical controller and prostheses that redistributes agency between performer and instrument. Through design practice, reflective performance, and a somatic experiment with another performer, the research investigates the entangled relationship between performer and instrument from a feminist perspective. The findings suggest that in DMI design, the embodied feminist perspectives that value fluidity, ambiguity, and entanglement over precision and mastery can inspire different musical expressions and shifting control to co-agency and negotiation.

This research frames colour and print as responsive strategies to challenge entrenched aesthetic norms and empower diverse bodies. It explores how dynamic visual patterns and colour psychology can disrupt static perceptions of body shape, moving beyond the confines of normative ideals. Through an iterative, research-through-design process, the study develops motifs and colourways that foster aesthetic agency, self-confidence, and vitality. By treating surface design as an embodied material interface, dynamic visual elements (such as moiré effects and gradients) are integrated to sustain novelty and reduce aesthetic fatigue. This approach re-frames emotional durability not just as longevity, but as the capacity for a garment to facilitate an ongoing, fluid, and playful human-garment relationship. This study demonstrates how design can address sustainable goals by using psychological and perceptual strategies to support a more inclusive and critically engaged relationship with our clothing.

Women’s mental well-being is deeply intertwined with their bodily experiences across different life stages. While embroidery has long been associated with domestic femininity, little is known about how its embodied qualities can support women’s mental well-being. This paper presents a co-creation workshop titled Embodied Embroidery, followed by micro-phenomenological and semi-structured interviews. Eight female participants engaged with embroidery to reconnect with their bodies and translate embodied sensations into material expressions. The findings reveal how embodied making can nurture different dimensions of women’s mental well-being while opening up new design spaces for embroidery activities among women across diverse age groups and cultural backgrounds. This paper contributes to design research by introducing an embodied, craft-based method for engaging with women’s well-being and by articulating design implications for integrating embroidery as a reflective and restorative practice.

Walking is approached not merely as a bodily act but as a phenomenon shaped by its historical, cultural, and spatial meanings, along with its relationship to the ground. Its historical continuity has made walking a constitutive element of social norms and bodily behavior patterns. The study seeks to reconceptualize walking not as rhythmic, standardized motion but as a relational experience, foregrounded through its intentional disruption. Such disruption prompts a questioning of biological and cultural codes, as the body becomes fragile when departing from the habitual. The first phase, conducted in Istanbul, explored the disruption of walking through body-movement experiments using a podal extension. The second phase, carried out in Samsun through a researcher-led workshop, invited participants to examine the material aspects of walking and reflect on embodied experience. Overall, the study offers an experimental and critical ground for rethinking the body and the act of walking.

This paper examines the design of a digital platform supporting sustainable food transformation across six European regional Hubs. Through multi-phase participatory evaluation involving contextual inquiry across culturally diverse contexts, responsive redesign, and formal usability testing, we identify a fundamental tension between technical standardization and cultural adaptation. While formal metrics demonstrated strong usability and aesthetic appeal of our platform design, Hub-based evaluation revealed that participants' requests for regional adaptation such as representing traditional production methods, biodiversity, and place-specific sustainability logics challenged fundamental platform assumptions about capturing food knowledge in standardized structures. We articulate emergent design principles including minimizing barriers while maintaining community identity, prioritizing integration over substitution, and facilitating knowledge circulation rather than data collection. Our findings suggest that meaningful transformation requires reconceptualizing platforms as distributed infrastructures that enable local adaptation while maintaining cross-regional knowledge exchange.

In recent decades, Peruvian gastronomy has experienced a higher exposure and production of culinary creations manifesting practices of transcultural mixture entangling diverse cultural influences. Nevertheless, there still remains a need for studies that discuss such cultural amalgamations, which could also inform strategies for transculturalization in other culturally sensitive practices like design. This paper analyses multiple variations of well-known Peruvian dishes to understand the historical and contemporary processes of cultural mixture that have fostered the current landscape. For this, a conceptual framework that draws from Latin American Transcultural Design Studies and Gastronomic Theory is proposed to enable transdisciplinary learnings entangling both fields, emphasizing their cultural influences and significance. To finally explore how these insights can be applied to develop strategies that enhance cultural richness, and reflect on the potential of transculturalization in both gastronomy and design for fostering pluriversal approaches that celebrate, honor and relate diverse cultural narratives.

This study addresses the dietary challenges faced by Chinese international students by developing Cooking Rush, a serious card-based board game. Using a Research through Design paradigm and Social Practice Theory, the project integrates Western nutrition with Traditional Chinese Medicine energetics. The game translates cultural beliefs into a quantified Balance of Thermal Intake (BTI) mechanism. Evaluation results from 14 participants show improved confidence in resource management and internalised dietary knowledge. Furthermore, the intervention shifts the perception of cooking from a burden to a practice of self-care. This research provides a scalable framework for cross-cultural health interventions by aligning local food logics with modern nutritional standards.

Food waste is a global sustainability concern, yet its connection to cross-cultural adaptation remains underexplored. For international students, adapting to unfamiliar food environments involves cycles of trial, error and waste. Among Chinese students in the UK (one of the largest international student populations), cultural differences and short stays intensify these processes, resulting in distinct forms of waste. This study explores how food adaptation relates to waste among first-time Chinese students in the UK, attempting to reveal areas for design interventions. Seventeen students completed seven-day cultural probes, combining daily tasks with self-reflection on food practices. The analysis revealed various types of food waste and their triggers, including time-convenience pressures, emotional disengagement from unfamiliar tastes, and cultural misalignment within local food systems. These experiences foster adaptive learning and sustainability awareness through repeated experiences of waste and adaptation. Finally, opportunities for design interventions supporting sustainable adaptation and waste reduction are discussed.

This paper discusses the Design for Peace Ecosystem: Urban Conflict and Food Justice course as a situated experiment in transformative design education. Conducted in Rio de Janeiro, the course combined participatory mapping, desk research, and fieldwork to explore how design can reveal and reframe tensions and hidden structural injustices within urban Food Systems. Students first developed urban food conflict maps to visualise inequalities in access, labour, and cultural recognition. Through desk research, they identified local “food care” initiatives that address food conflicts and promote the right to an adequate food culture. Using ethnographic diaries and ethnography techniques, they engaged with community projects to observe everyday practices of resistance, ecology, and cooperation. The final design projects reinterpreted these insights into relational design interventions that promote food justice. The paper reflects on how conflict mapping and field research can serve as design-led inquiry, fostering critical awareness and transformative engagement within urban foodscapes.

As global food systems face growing sustainability challenges, edible insects are emerging as a viable alternative protein source. This study explores how transparent window size and food processing level in packaging affect Taiwanese consumers’ purchase intentions toward insect-based foods. A 2 (window size: small vs. large) by 3 (processing level: unprocessed, semi-processed, fully processed) experiment with 359 participants, categorized by attitudes into acceptance and rejection groups, revealed that processing level significantly influenced purchase intention. Fully processed products received the highest acceptance across both groups. Window size had a minor effect, slightly increasing purchase intention among the rejection group when smaller windows were used. Positive attitudes, prior experience, and male gender in the rejection group were also associated with higher purchase intentions. Even when controlling for attitude and experience, processing level remained a significant predictor. These findings suggest that reducing visual exposure to insects and culturally tailoring packaging may enhance consumer acceptance.

British wool (BW), once central to the UK economy, is now economically marginal yet ecologically regenerative, revealing deep tensions between sustainability rhetoric and material practice. This paper reframes BW as a transitional material, whose value, meaning, and use are shifting across ecological, infrastructural, and discursive systems. Drawing on semi-structured interviews with 35 stakeholders across the BW supply chain, combined with policy and industry analysis, the study applies reflexive thematic analysis to examine how value is produced, diminished, and potentially restored. these findings are situated within new materialist and posthuman theory and emerging sustainability regulation (ESPR and Digital Product Passports), the paper argues that design research can re-mediate transitional materials by integrating ecological data, provenance, and care into material systems. The study contributes a conceptual model of transitional materiality that links design, policy, and ecology, offering pathways for regenerative and circular textile futures.

Material designers worldwide are transforming how innovation emerges through local engagement, moving beyond conventional material selection to create materials that reflect and embody their originating contexts. This research examines how locality influences design motivations, resource utilisation, and collaborative approaches through a systematic analysis of 635 material design projects across 56 countries, complemented by questionnaire responses from 19 practitioners across 14 countries. The mixed-methods research establishes the state of the art by mapping ingredient sourcing patterns, fabrication processes, and stakeholder engagements across diverse geographical contexts, while illuminating designers' conceptual frameworks regarding the role of locality in material development. The research reveals the mindset of locally-aware material designers; how geographic and cultural factors function as active design parameters rather than passive constraints. This comprehensive analysis provides foundational knowledge for place-based material innovation, offering researchers and practitioners the foundations of a framework for developing territorially responsive design practices that advance sustainable material development.

As the environmental impacts of wearable technologies intensify, exploring how material choices can enable circularity in such a waste-intensive sector has become critical for design research. In response to this challenge, materials are recognised as pivotal in emerging wearable alternatives, yet how they can actively support circular practices remains underexplored. The study addresses this gap through an annotated portfolio of 40 case studies situated in or informing the wearable domain at the intersection of Material-Driven Design and Bio-HCI. By foregrounding recurring materials, methods, and tools, the analysis aims to reveal how matter can act as a transformative agent in shaping low-impact wearable solutions. Key outcomes include the identification of transferable design principles demonstrating the potential of material-driven and speculative approaches for generating transitional scenarios. The study further advances the dialogue on embodied and symbiotic interactions, emphasising the active role of materials in guiding designers toward circular futures.

Abstract: This paper considers how one plant, harakeke (phormium tenax), native to Aotearoa New Zealand embodies the natural attributes to mitigate climate change and support transition to more sustainable and equitable material futures. Through interaction and collaboration, harakeke demonstrates how circular and regenerative textile design systems are manifested. In the interest of learning from harakeke the authors, working from multiple perspectives, position the plant as tohunga (knowledge expert) and themselves as tauira (learners) to share and reflect upon their engagements with the plant and its fibre. From harakeke we learn about familial relationships to whenua (land) and to each other, Māori textile practices, and how learning about harakeke can unlock insights and understandings of indigenous fibres and practices from Te Moana-nui-a-Kiwa. In this regard, we suggest that it is the knowledge that is transitional as the materials and practices themselves translate this knowledge through inter-indigenous and inter-cultural exchange.

This paper seeks to explore the material transitions in vernacular dwellings to explore how local knowledge can inform future construction practices rooted in material circularity. Behramkale village in northwestern Türkiye harbours traditional dwellings where reused earthenware from pots to roof tiles are integrated into masonry for durability and ornamentation. This unique and site-specific construction technique reflects the resourcefulness of local craftsmanship. Under the methodology titled “tracing the earthenware,” the study maps the distribution and uses of these elements throughout the village, interpreting them not as passive remnants but as active agents which can help envision future pathways for material circularity, while the adaptation of similar traditional techniques is already evident in certain contemporary design initiatives. Thus, the paper discusses this stratified indigenous material practice, positioning it as an instructive model to reveal how vernacular knowledge can shape resilient and waste-derived material systems in today’s sustainability-driven design paradigm.

Design Matters Lab (DML) was a collaborative design programme that brought together ten emerging designers from Europe and Indonesia for an online and in-person design residency in Bandung, Indonesia. This paper explores the concepts, methods, and outcomes of DML, offering a potential blueprint for small-sized international businesses seeking to integrate crafting techniques and local, sustainable materials into their manufacturing processes. The project also proposes a methodology for teaching sustainability in design through meaningful environmental engagement rooted in local collaboration and applied practice. It emphasises the importance of working with local communities and using locally available waste and bio- materials. The study found that the most significant impact emerged from the collaborative process itself as well as potential collaborations through networking and dialogues. DML demonstrates how cross-cultural partnerships can expand the creative potential of these materials, resulting in innovative, sustainable outcomes that benefit both the local economy and environmental practices.

This paper presents a first approach to a Latin American feminist design method based on three actions proposed by the Chilean feminist sociologist Julieta Kirkwood who said feminist praxis required to (1) know the structures of oppression, (2) recognize our place in them and (3) transform them through our practice. Although the intersection between design and feminism has successfully pointed out the false neutrality in design practice and its potential to imagine more equal futures, practical approaches are still needed as a guidance to put feminist design into practice. Therefore, this design method based on understanding, recognizing ourselves and transforming would have two main areas of impact: First, it would promote design interventions that improve the lives of women and other marginalized subjects, and second, it would become a reference for other designers who want to move away from apolitical ways of designing.

This study examines Interference Archive, a collectively run archive of social movement ephemera in Brooklyn, as a site where archival practice and design converge in continuous public formation. Through an analysis of exhibitions, interviews, and institutional materials, it demonstrates how archives employ the design tactics of tracing and projection not as discrete interventions but as recursive practices embedded in long-term infrastructuring. Tracing reveals genealogies of struggle, enabling participants to locate themselves within shared histories, while projection transforms this awareness into forward-looking artifacts and events that circulate beyond the archive. Unlike conventional participatory design or speculative futuring, IA cultivates a prefigurative present, where the deliberate curation of socio-technical assemblages and volunteer-led programming sustains counterpublics through material maintenance rather than depoliticized innovation. This analysis repositions counter-institutional archives as alternative knowledge infrastructures, demonstrating how design’s political potential lies in maintaining the conditions through which collectives continuously articulate issues and prefigure different social realities.

Metaphors play a crucial role in how designers understand, communicate, and shape technology, and artificial intelligence (AI) is no exception. This paper introduces Archipelagic AI (AAI), a speculative framework that employs metaphor-making as a design research strategy to challenge the colonial epistemologies that structure AI systems. Developed through collaborative autoethnography and fabulation in one of Europe’s richer ecosystems (Samouco in the Tagus Estuary), AAI draws on archipelagic studies and Caribbean decolonial thought to foreground a geosocial intelligence emerging through relational nodes of situated knowledge, where matter, forces, currents, and affects interweave in fluid assemblages. Structured around three metaphorical figures — AI as Contact Zone, AI as Composting, and AI as Companion — AAI proposes design practices oriented toward coexistence, care, and ecological justice. The paper contributes to speculative, place-based, and community-oriented design research by articulating methodologies that integrate more-than-human perspectives into AI design.

The over-sexualisation of female characters in video games peaked in the 1990s and 2000s and fighting games have been slow to move away from it. Their reliance on visual exaggeration to convey identity and fighting style makes this harder to change. With 48% of players today being women, this raises questions about how these portrayals persist. This paper examines how participatory approaches can be used to explore how women players respond to these designs through a survey, a within-subject evaluation task, and a co-design workshop. Participants recognised exaggeration as part of the genre’s identity but criticised its association with sexualisation. They did not reject femininity but favoured forms tied to personality, agency, role, and backstory rather than objectification. The workshop showed that “cool” and “relatable” characters draw on similar features, but that relatability depends on how these are grounded in function and context.

Light is gaining attention as a design element in public space. Its relational and ephemeral aesthetics enable urban transformations beyond the built environment, offering new possibilities for sustainable and inclusive cities. Yet, artificial light remains a relatively new concern in planning, traditionally excluded in drawings and regulations. This paper examines how light’s relational materiality is translated within urban planning and design, and travels as a matter of concern in city governance to become a public thing. Drawing on Actor-Network Theory, we analyze municipal lighting policymaking in Gothenburg, Sweden, showing how light’s multiple dimensions—its aesthetics, sustainability, safety, environmental —are mediated through scripting instances such as visualisations, guidelines, comprehensive plans and digital twins, and become part of the bureaucratic organizing of the municipality. The study contributes to understanding how light, through such organizational translations, shifts from an object of design to an object of urban governance - in search for public concern.

The ontological aspect of designing is commonly defined as a feedforward loop between the world and the designer, as if the world designed us as much as we design it. In this definition, derived from the “everyone is a designer” motto, “everyone” means “we,” but also “no one”. Thus, design philosophy avoids scrutinizing worldly agents interested in designing the designer, understanding the world as a homogeneous force reacting to the designer. A world where many worlds fit isn’t a homogeneous one; therefore, answering “who designs the designer?” from an anticolonial stance requires considering the social production of design(ed) bodies and their historical inequalities in world-making. This paper builds upon Vieira Pinto's question "who produces the producer", and recent research on userism that asks “who gets to design/to be designed”. Thus, this research unveils the worldly dispute for sustaining and dismantling the coloniality of making, including the production of design philosophy.

Systemic design is increasingly emerging as a foundational concept in contemporary design research, attracting growing scholarly attention. However, despite converging ambitions toward addressing complexity, the field remains characterized by diverse terminologies, conceptual framings, and methodological vocabularies. This plurality, while intellectually productive, often raises the entry barrier for new researchers and risks duplication of effort due to unclear conceptual boundaries and fragmented knowledge development. To address this challenge, this study traces the historical evolution and theoretical roots of systemic design, clarifying its conceptual scope, key constructs, and stages of theoretical formation. Building on this foundation, it further examines the historical trajectory of Chinese systemic thinking and design traditions, and contrasts them with Western systemic design paradigms. The study argues that Chinese systemic thought, embedded in everyday life, ethical practice, and socio-cultural philosophy, constitutes a long-standing system paradigm that holds significant value for enriching and diversifying contemporary systemic design discourse.

Pluralism is essential for transformations toward regeneration, to (re)align human activity with holistic planetary health. Systemic design’s pluralistic intentions offer a promising pathway, yet its methodologies rarely match the complexity they aim to engage. The focus often falls on adding new methods instead of examining how methodologies function. As a result, systemic design methodologies struggle to navigate the contextual, epistemic, and cultural differences within plural pathways toward regeneration. This paper argues that systemic design methodologies can negotiate pluralism more effectively when functioning as complex systems themselves: nonlinear, emergent, and relational. Drawing on participatory action research across three diverse communities, I offer a reflexive perspective on engaging with methodological pluralism in practice. I then introduce a visual heuristic showing how plural methodologies can be understood as ongoing dialogues with complexity. This paper aims to support systemic designers in embracing pluralism and emergence as core methodological capacities for regenerative transformations.

Systemic design addresses complex, transdisciplinary challenges by integrating systems thinking and design methods. Yet, academic discourse remains limited to formal research and institutional methods, “invisibilizing” the rich, plural, and grounded practices of grassroots non-designer practitioners such as social workers, indigenous knowledge practitioners, and community facilitators. This paper challenges that narrow epistemology, and advocates restoring practice-centricity and incorporating plurality & pluriversality as essential ethical and political commitments to advancing the field. Mashing up the metaphors of “The Blind Men and the Elephant” and “The Elephant in the Room”, it highlights the need to proactively accommodate multiple perspectives for better reflexivity. The article critiques systemic theory’s limits, urges restoring practitioner wisdom to the centre, and legitimizing embodied, tacit, and cultural knowledges. Drawing on case studies and pluriversal principles, it calls for democratizing systemic design to foster epistemic justice and inclusivity, making it more relevant to and effective in real-world systemic transformations.

Integrating systems thinking and design thinking offers a promising approach to address systemic challenges in healthcare. However, existing studies apply diverse systems thinking theories and methods across different healthcare contexts, and design also shows methodological pluralism. Such diversity has created conceptual fragmentation and uncertainty about how designers can meaningfully apply systems thinking. This paper presents a scoping review of 44 empirical studies that apply both design approaches and systems thinking theories or methods in healthcare service systems. The analysis examines where systems thinking is positioned within studies and identifies four relationship types: (1) design as systemic practice, (2) systems thinking informing design, (3) design–systems thinking integration, (4) design supporting systems thinking. It also highlights the practical challenges that emerge from the integration. The study clarifies the current landscape of how design engages with systems thinking and outlines research opportunities for advancing systems thinking to address healthcare complexity.

This paper investigates how critical design can challenge universalist frameworks in design education and open up space for pluriversal perspectives. We explore the use of provocative probes as a concrete pedagogical method for cultivating pluriversal thinking and critical reflection. Our theoretical reflections are empirically grounded in a one-week workshop in which design students created and deployed provocative probes to surface experiences of those who ‘misfit’ and to initiate public interactions around these lived experiences. The notion of misfitting was used to introduce complexity and reflexivity. Findings show that while students began to delink from solutionist thinking and engage with plural perspectives, the practical constraints of the workshop limited opportunities for deeper systemic understanding. The paper concludes by discussing the epistemic and pedagogical implications of fostering pluriversal and critical design education within universalist institutional structures.

This paper examines how the Power+Place Collaborative — a participatory placeshaping design partnership — reflects, reinforces, and resists the dominant educational, political, and social systems it seeks to transform. Since 2018, the Collaborative has been working with historically and systematically marginalized communities to critically examine the power-laden place-design processes of a diverse, semi-urban county in the Southern United States. Through oral history interviews, digital and place-based storytelling, and community gatherings, the Collaborative aims to construct a more inclusive narrative of our county and cultivate opportunities for systemic transformation. Reflecting the call to consider the ethics of participation in systemic design, this paper is coauthored by community partners, students, and faculty. The paper begins by outlining the complex histories and interlocking crises the county is facing, documents our participatory approach, shares findings from a longitudinal research study highlighting systemic transformations from multiple perspectives, and concludes with a set of recommendations.

This paper offers a critical account of using a layered systemic design process to surface the complexity of a superdiverse neighbourhood - Jackson Heights, Queens, New York. The approach employs systemic design practices through walking and iterative prototyping to encounter a multiplicity of experiences and forms of participation that shape place. Four methodological contributions are presented: critical vignettes from ethnographic walks framing complexity, systemic visualization from walks with residents, three prototypes of archives and across the paper, accounts of systemic participation shaping place. The layered approach is presented as a form of systemic design participation in itself. It reveals how superdiverse places are sites of localized participation and governance that may resist, adapt to or deviate from normative policymaking. It advances research in systemic and place-based design practice by linking community experiences to systemic conditions while offering opportunities for design researchers to grow contextual awareness when working with marginalized communities.

Rarely does speculative socially engaged design reflectively compare different approaches. This paper reflects on two speculative socially engaged design projects that employ materials-based participatory methods to explore the supports and barriers to the continuity of healthcare and the remediation of environmental pollution. The first project, TheChange@Work, engaged hospital staff and outpatients in exploring menopause-related workplace stigma through colour, collage, and textiles, to reflect on diverse experiences of dynamic hormones. The second project, From Waste to Care, involved communities in 3D-printing ceramics from coal ash waste, addressing the remediation of toxic materials remaining from energy production. We analyse the blind spots in current framings of health and environmental challenges identified in the workshops. Our reflections on these projects provide a fruitful comparison of our approaches and deepen our understanding of what we learnt from participants about dynamic hormones and the reuse of fossil-fuel waste to counter eco-social challenges.

Research involving Deaf and hard-of-hearing participants remains limited in its ability to include and engage with diverse participants lived experiences, weakening research rigour, relationships with communities, and perpetuating existing inequalities. The use of co-design approaches to address these needs, by positioning lived experience as an additional form of expert knowledge, has increased in recent years. However, the ways in which practices genuinely empower DHH participants, enabling participation that advances justice within and beyond the research setting, have not been translated into co-design research. This paper proposes an initial participatory framework for exploring DHH engagement in research, examining how models of deafness, participant characteristics, and research practices interact to shape the nature of participation in co-design. We aim to provide guidance for the design community seeking to move beyond tokenistic involvement toward genuinely shared power, respect for the lived experience of DHH, and more socially impactful co-design practices.

This paper reflects upon the research process of co-designing equitable engagement within the healthcare sector. The research considers approaches to co-design as rooted within researchers sharing decision-making and shifting power not from themselves to participants, but amongst the research team itself. Co-design is mostly discussed as a process of academics and non-academics sharing the research design journey through participatory, inclusive and dialogical methods. This study considers how this process evolves within the research team itself, whereby known research project roles, responsibilities and remit are put to one side allowing difference, conflict and disagreement to be explored using design research methods. The findings suggest design exploration of this kind is likely to support a type of engagement in a context such as healthcare often difficult to research. The benefits of the research are both methodological and empirical - in advancing methods for co-design as well as enriching empirical studies in healthcare.

Recent research highlights the potential of prototyping for promoting sustainable transitions. However, scholars argue that it is essential to modify, and possibly redefine, the conventional use of prototyping to address complex system transformations. This paper enhances the understanding of prototyping within Transition Design for sustainability. Drawing on Social Practice Theory and practice-oriented design, we conceive prototyping as a design practice and define it through three key components: materials, competencies, and meanings. This perspective shifts the emphasis from individual prototyping artefacts to a more comprehensive, contextual understanding of the practice, aligning with the systemic nature of transitions. The empirical findings derive from participant observations, archival analysis, and interviews with twelve researchers and practitioners involved in prototyping activities for sustainable landscape transitions, as well as two academic experts. Our thematic analysis reveals significant insights into the evolution of prototyping practices, offering an initial conceptual framework for its application in transitions.

Sustainability transitions are marked by growing pains: tensions between planetary and local scales, global urgency and lived experience. This paper argues that techno-centric, metric-driven, and scalable approaches obscure inequalities, conceal the labour of maintenance, and overlook affective dimensions. It proposes a counter-infrastructural approach that understands sustainability as emerging through infrastructural, ecological, temporal, embodied, and relational dynamics. Drawing on interdisciplinary theory, participatory workshops, and experiential experiments, the study shows how process-oriented practices can reconnect individuals to energy systems. Bioregional thinking, community-led initiatives, repair and maintenance, and sensory engagement are explored as alternatives that foreground resilience and interdependence. Through lenses of scale, care, and embodiment, design is positioned as mediator between abstract environmental metrics and lived realities, raising questions of governance, ethics, and emotions. Designing with trouble reframes sustainability not as a problem to solve but as ongoing negotiation, where uncertainty, incremental care, and situated knowledge enable more just and inclusive transitions.

This paper addresses a challenge for Transition Design (TD): how to make long-term, systemic frameworks tangible and actionable in small-scale, community-led practice. We introduce and evaluate the preliminary results of a methodological framework that scaffolds TD backcasting with seven principles of Social-Ecological Systems (SES) resilience for urban gardens. Grounded in a community garden case study in Shanghai, we analyse data from semi-structured interviews and a co-design workshop to evaluate this method in practice. Our findings reveal that this method functions as a dialogic tool, enabling participants to diagnose systemic issues, negotiate trade-offs, and co-create near-term actions with a longer-term vision. The paper provides a critical analysis of the new tool, including its differential effectiveness during visioning versus action planning and presents a theoretical framework for further replication and iteration. Ultimately, this research aims to contribute a theoretically-grounded and empirically-tested method for structuring co-design processes aimed at fostering community-led sustainable transitions.

Despite the advancement of sustainable design, a critical paradox persists: many practices remain embedded in industrial paradigms, failing to address deep-seated socio-natural contradictions. Grounded in the Eco-Marxist "metabolic rift" framework and informed by recent Agricultural Innovation Design (AID) research, this study proposes a key path for mending these rifts. The research offers a systemic framework for intervening in complex social-ecological systems. The primary conclusions are: (1) metabolic rifts are fundamentally rooted in relational alienation, characterized by the disruption of healthy and reciprocal metabolic relationships between society and nature; (2) structural sustainability requires reshaping metabolic relationships across social, ecological, and intergenerational dimensions; (3) the proposed “restoration paradigm” shifts design logic from product-centricity to relationship restoration through a “mapping-catalyzing-consolidating” path; and (4) designers are redefined as “relationship catalysts” who synchronize community needs with natural ecological cycles to construct resilient systems.

While design transition discourse foregrounds systemic change, pedagogy frequently remains rooted in a solutionist mindset, in which the design brief often functions to perpetuate norms.

Drawing on the Erasmus+ project Speculative Urban Futures, we reimagine the design brief as an infrastructure for epistemic plurality. Students collaboratively develop and circulate briefs across groups, harnessing divergence as a means of expanding the design space and unsettling normative expectations.

We argue that embracing this tension is central to navigating the “growing pains” of design transitions. By embedding theoretical complexity within viscerality, playfulness and speculation, design education can shift from transmission to transformation—equipping students not simply with the ability to generate solutions, but to radically reframe what counts as a problem in the first place.

The paper concludes by advocating for a surreptitious practice-based approach in which the brief functions as a critical device for cultivating alternative worldings in design pedagogy.

Conventional participatory planning and design practice imply linear accumulation of data, facts, and representations, predicting meaningful futures through consensus-driven strategies. Transformation is framed as the transparent management of knowable information towards a providential destiny. By reducing participatory reasoning to factual transfer and discursive negotiation, reductionist approaches fail to address the systemic complexity and contingent character of socio-ecological challenges. They overlook disruptive shocks (financial crises, pandemics) that reorder systems. We propose disruption as a co-design method: a deliberately staged technique that exposes boundaries, surfaces dependencies, and fosters collective sense-making under uncertainty. Drawing on 4E cognition and relational design theory, we propose an operative epistemology where knowledge emerges through recursive sense–model–act loops, boundaries and constraints function as enabling conditions for creativity. Methodologically, disruption is operationalized through event–constraint–speculation sequences in a game-based co-design toolkit, empirically demonstrated in the Rurban-Lab case. This is a proposal for ecologizing co-design.

The design of both physical and digital layers of the built environment is increasingly shaped by the pursuit of “smartness,” often privileging efficiency and control over the cultural, ecological, and ethical dimensions that sustain life in cities. Resisting this technocratic urbanism and reimagining infrastructuring through Australian Aboriginal principles of Traditional Ecological Knowledge (TEK) – including relationality, responsibility, and reciprocity – offers ethical and sustainable directions for design. This paper proposes relational infrastructuring as a situated design practice that enacts and sustains cultural and ecological relations rather than merely delivering technical functions. Drawing on design scholarship, Indigenous knowledges, and urban studies, we examine three key tensions: control versus kinship, optimisation versus obligation, and extractivism versus reciprocity. We show how Indigenous perspectives of Designing with Country, understood as a relational practice, can support designers in resisting dominant smart city paradigms and cultivating regenerative cities and more-than-human futures.

This paper explores how posthuman design researchers operationalise the values inherent to their research as an everyday practice of care, messiness, and partiality. Drawing on five in-depth interviews and employing diffractive analysis through posthuman and feminist care ethics lenses, the study highlights how practitioners enact plural, situated, and reflexive approaches to method. The findings distil theoretical commitments into actionable suggestions and everyday ethics, underscoring the significance of relational accountability in design research. Implications are discussed for legitimising care-centred methods, reframing design research, and supporting systemic change. In foregrounding posthuman approaches and ethics as ongoing attunement, this research offers practical strategies for “staying with the trouble” within more-than-human worlds.

This paper presents Sounding Territories, a sonic performance developed with Fundación Organizmo (Colombia) that explores dis/identificatory codings as a tactic for resisting and subverting algorithmic capture. Building on queer and more-than-human perspectives, the project reorients computational logics from stable classification toward relational and generative forms of identification. Through deep listening, embodied performance, and model training, datasets were composed as relational constellations: entanglements of sounds and situations (e.g., fire–conversation–bird–wind) that enact the liveliness of data beyond representational frames. Rather than seeking legibility within existing taxonomies, dis/identification becomes a methodological reorientation–a performance of politics–that disturbs predictive logics and embraces illegibility as generative of plural and interdependent life/worlds. The paper contributes to more-than-human data practices by advancing dis/identificatory coding as a mode of relational worlding.

Smart technologies promise efficiency and sustainability, yet their intelligence remains narrow – confined to optimising isolated human needs rather than nurturing the wider ecologies in which lives unfold. This paper explores how design may shift from smart technologies to more careful configurations: systems that participate in human–material–environmental relations rather than merely processing data. Drawing on Barad’s framework of intra-action, we reimagine technological innovation as distributed and relational. Through a series of eco-social prototypes – from modular heating and communal hydration to wooden fridges and moss bathrooms – the paper demonstrates how care, reciprocity and participation may re-enter the logic of innovation. Instead of designing for scalability, we imagine a design for careful reconfigurations, rethinking the familiar innovation triad of feasibility, viability and desirability as relational capacities. The argument contributes to emerging discourses of more-than-human design and proposes a model of design innovation grounded in care and resourcefulness.

Despite growing interest in sustainable food systems, their material dimension as active design agents (artefacts and infrastructures) remains largely unrecognized. This study challenges the positioning of packaging and distribution tools as passive elements, repositioning them as entities that shape the ongoing negotiation of ethics, responsibility, and co-dependence within food systems. Drawing on interviews, thing ethnography, and relational mapping across two alternative food network case studies, the study examines the roles of these material agents. The findings show that material artefacts contribute to the organization of care, responsibility, and continuity across both pragmatic and symbolic dimensions of food networks. Differences in material configuration and form influence how these artefacts are perceived, handled, and embedded in users’ routines. By examining the relations between materiality and network actors, the research contributes to a broader understanding of design agency as distributed, relational, and not limited to human intention.

Proximity Ruff explores embodied interaction and social care through a wearable device that translates human proximity into light. Designed within The Spark Design Research Studio (Naples, Italy), it reinterprets the historical ruff as a postdigital interface that re-educates the body to closeness after the pandemic. Generated through evolutionary algorithms and 3D-printed in bioplastic PLA, the piece embeds 72 LEDs and proximity sensors that visualize interpersonal distance. Beyond quantification, the luminous feedback materializes affective data, transforming social gestures into somatic awareness. Grounded in somaesthetic design and critical materiality, the project investigates how sensing systems and computational materials can mediate care, empathy, and bodily diversity. By merging digital fabrication and responsive matter, Proximity Ruff proposes an alternative notion of wearable technology, one that restores intimacy and reconfigures the postdigital body as a porous, relational, and emotionally intelligent system.

Digital jewellery is an emerging field of research and practice that combines jewellery practices with microelectronics and employs methodologies from art, craft, design and Human-Computer-Interaction (HCI). This interdisciplinary approach offers exciting possibilities for designing innovative digital devices on the body. However, the field of digital jewellery remains loosely defined and underdeveloped. It is timely to give voice to jewellers and to lead them to shape the many ways in which digital technology can be meaningful to the wearer. This paper synthesises insights from the past five years of digital jewellery research conducted in two jewellery education programs in the UK and Denmark. In doing so, it amplifies the voices of the new generation of jewellers, analysing their practices and highlighting their potential to shape the future of wearable devices. By emphasising longevity, emotional resonance, embodiment and self-reflection, the new generation of digital jewellers offers a compelling alternative to tech-driven wearables.

The novel nature of tangible communication technologies and users’ lack of prior experience pose a significant challenge for engaging stakeholders in participative activities for non-verbal, tangible remote-communication devices. To address this gap, we developed a research toolkit consisting of wirelessly connected textile cubes capable of transmitting haptic signals such as motion, warmth, shape change, heartbeat, vibration and visual cues. This paper examines the potential of the toolkit as a methodological tool for identifying suitable input-output modalities and capturing user perceptions in the early stages of device development. Applied within a recent research project, the toolkit enabled participants to engage with unfamiliar interaction modalities and supported designers in evaluating preferences and patterns across various communication scenarios. Our work contributes a case study on user study design in the field of tangible remote communication and offers insights into the participatory development of multimodal, non-verbal remote communication devices with implications for future research.

This study explores how thermal interaction can support emotional expression and regulation in socially anxious contexts. Using participatory and body-mapping methods, participants recalled and visualized temperature-related experiences of comfort, which were translated into six emotionally resonant thermal patterns. These insights informed the design of TempReso, a sleeve-type wearable that delivers dynamic thermal cues on the forearm. A series of design experiments examined how warmth and coolness evoke affective memories, redirect attention, and foster emotional comfort during public speaking. The study highlights temperature as an expressive and emotional material, revealing how embodied experiences can inform the design of affective haptic interfaces and contribute to understanding emotional resonance in interaction design. Reflections on the process discuss how bodily experience, material behaviour, and technology intertwine in shaping emotionally meaningful interactions.

In safety-critical industrial contexts, visual alerts often fail under high cognitive load. This paper introduces Preparatory Haptics, framing haptic timing as a relational medium that reshapes bodily anticipation. We developed a wearable haptic prototype synchronized with auditory cues to investigate how temporal coordination and vibration modes influence attention and readiness. A driving-simulation study showed that advance-timing haptic cues foster proactive anticipation, whereas sustained vibrations are perceived as bodily resonance rather than interference, particularly under complex task conditions. These findings ground the Preparatory Haptics Framework, which treats temporal materiality as a generative element of embodied interaction and offers theoretical and practical guidance for anticipatory alert design in safety-critical systems.

Exoskeletons exemplify intimate body-technology entanglements, where user experience is inherently corporeal. Despite their increasing presence in industrial and emerging consumer markets, current development methods often neglect the embodied dimensions of these devices. This paper explores what it means to design for the working body in the context of occupational exoskeletons. Drawing from our design practice and qualitative interviews in automotive and logistics, we identify tensions across three areas: (1) user and context research, inclusive and (2) body-sensitive development processes, and (3) the semiotics and social meaning of exoskeletons. We highlight challenges such as normalized risk and harm, limited attention to anthropometric diversity, constraints on safe prototyping, and risks of stigma and dehumanization. Simultaneously, we identify opportunities to position exoskeletons as cues for body awareness, health-related self-efficacy, and reflective work practices. Finally, we propose actionable recommendations to advance exoskeleton design, emphasizing embodied, situated experience.

The proliferation of new technologies, notably GenAI, alongside augmented and virtual reality, has produced a paradoxical situation in visualization practice: while offering unprecedented multimodal richness, their complexity erects new barriers to entry, thereby exacerbating inequality and undermining design's democratic promise. Although research at the micro-level of visualization techniques abounds, a critical and systematic methodology for addressing the inherent power dynamics and design justice issues from meso- and macro-perspectives remains conspicuously absent. This paper intervenes by adapting an analytical framework from Critical Discourse Analysis to embed design justice within visualization practice. We propose a four-layer framework—Culture, Context, Meaning, and Expression (CCME)—as a shared language for the design community to systematically negotiate the tensions between technical possibility, user accessibility, and social equity. This work offers a practical yet critical tool for designers to navigate the politics of discourse in their practice, fostering a more reflective, dynamic, and liberatory approach to visualization.

This study investigates how large language models (LLMs) enable new modes of collaboration in zero-waste fashion design, addressing the challenge that traditional practice relies heavily on tacit knowledge developed through iterative material experimentation. Using first-person autoethnography, the research examines how a designer collaborates with ChatGPT and Claude across concept ideation, digital pattern development, toile construction,

and sample production, tracing how technical terminology, design reasoning, and material knowledge are negotiated, misinterpreted, and re-articulated in human–AI interaction. Findings demonstrate that ChatGPT excels at generative conceptual prompting, whereas Claude better handles complex pattern-cutting rules; nevertheless, both require iterative, dialogue-based correction. The research proposes the AI+Zero-Waste Fashion Design Process Model, which provides designers with practical strategies for integrating LLMs into zero-waste design practice.

This study explores the Miyanohara participatory land art project in Ōmuta City, Japan, as an innovative teaching method for integrating international exchange students into new cultural and environmental settings within higher education institutions (HEIs). By creating a 74-metre installation depicting the Kasumi salamander at a former coal mine site, eleven international students from Kyushu University's Strategic Design course engaged in embodied learning that transcended linguistic and cultural barriers. Using arts-based methodologies and an eco-social design approach, we demonstrate how land art can serve as a powerful tool for HEIs to foster environmental awareness, cultural integration, and transformational learning experiences for international students. The project highlights how arts-based research and eco-social design can effectively address the dual challenges of sustainability education and international student integration, thereby supporting universities' broader mission as agents of sustainable change.

Language functions as both a core element and the cognitive framework that supports the entire design process. However, the deep integration of Large Language Models (LLMs) is shifting the creative process from self- or human-to-human dialogue to human-AI conversation, requiring a careful examination of this emerging form of collaborative language. This study conducted an experiment on designer-AI collaboration. The goal was to explore the relationship between their collaborative activities, linguistic features, and co-creativity. By carefully coding activities and using the Linguistic Inquiry and Word Count (LIWC) method, we identified conversational features linked to different levels of creativity. These findings not only enhance understanding of the Human-AI collaborative design language but also offer important warnings and essential regulatory insights for designers engaging in co-creation with Textual GenAI.

Smart product concept exploration unfolds in dynamic and diverse use situations (DDUS) that yield fragmented, multimodal scenario data, yet how experienced designers organise design reasoning in data-intensive environments to support problem framing remains underdescribed. We used a Scenario-Data-Informed (SDI) Canvas to make designer-data conversations visible and ran task-based sessions with 18 designers. From coded think-alouds and canvas inscriptions, we report three findings: first, three reasoning stances that structure work with scenario data; second, three language-in-use strategies and an actor-network mapping that renders translations among contexts, artefacts, and intentions as a traceable network; third, shareable cues that support collaboration and surface frictions. We position the combination of the SDI Canvas and our actor-network map as a medium for dialogic engagement with scenario data and as a carrier of shared language, sustaining data-informed concept exploration and cross-role shared understanding in smart product design.

4D printing functions not merely as a smart manufacturing technique but as an interactive material technology: materials respond to human or environmental stimuli and generate a direct feedback loop. This study proposes a taxonomy that links Stimuli, Smart Materials, and Transformation Effects, developed through a combined Hierarchical Classification and Ontology-Based Classification approach grounded in a systematic literature review and ontology mapping. By organising complex stimulus–material–effect relationships into a designer-accessible structure, the taxonomy supports non-technical designers in identifying feasible pathways from intended interactions to material outcomes. It also provides a structured data foundation for developing 4D printing design guidelines and toolkits, enabling more direct translation of 4D printing concepts into real projects. Positioned as an interface between human intent and material expression, the proposed framework highlights how 4D printing can enable new forms of interaction design and fluid, responsive artefacts across design domains.

This paper examines how designers can contribute to the sustainable transition by retaining intrinsic value in imperfect, discarded materials from manufacturing. With European manufacturing generating over 230 million tons of waste annually, potential lies in using such materials at their processing stage as substitutes for virgin materials into new products. Drawing on a Danish research project with 22 material discards, the study categorises and characterises the materials into offcuts, rejected materials, rejected objects, process waste, and excess materials, each varying in imperfection parameters, predictability, variability, and data availability. The analysis examines how designers retain intrinsic value embedded in prior processing when transferring it into new product designs. Function, form, and material composition are identified as key aspects of preserving material integrity for value retention. The study conceptualises the Reshape strategy as a design-led circular approach that leverages these factors to integrate pre-consumer discarded materials into new product development.

This paper explores materials in transition through Living Textiles, a platform that integrates genetically engineered whole-cell biosensors into textiles for on-body physiological and environmental sensing. The project investigates how textiles can act as computational and ecological systems, integrating living cells that sense their environment and communicate through material change. By combining biological sensing with textile craft, Living Textiles reframes smart materials as regenerative and cohabited rather than extractive and disposable. The research contributes to the field of transitional materials design by: (1) presenting new interaction possibilities with microbial cells; (2) developing methods for designing microenvironments that sustain life and sensing; and (3) creating textile architectures that integrate textile fluidics to support designed textile biomes. Instead of relying on electronics, these textile ecologies invite new ways of thinking about care, microbiome design, and material intelligence.

Transparent wood (TW), obtained by removing lignin from natural wood and infiltrating it with bio-resin or bioplastic, has attracted renewed scientific and industrial interest over the past fifteen years as an effective alternative to plastics and glass. The research explores how this perceptual hybrid can be meaningfully presented in professional design contexts to support future use of TW. A twofold action was carried out during a focus group involving 12 international project professionals. On one hand, a sensory–perceptual analysis was conducted to identify the distinctive characteristics of the material; on the other, future application scenarios were explored through creative techniques typical of the cognitive economy, such as analogies, cognitive mapping, and creative collages. The research, conducted within the framework of the Horizon Europe project AI-TranspWood, aims to provide insights that will help project partners enhance the perceived quality of TW samples, supporting its future adoption and market introduction.

Hybrid craft can help envision more sustainable futures, recognizing the human-nature-technology interdependence in ecological making practices. Beyond industrial and research applications, digital fabrication offers new aesthetic and formal possibilities to designers, artists, and practitioners, exploring new materialities and narratives to foster sustainable discourses through hybrid craft and reflective making. This paper explores how hybrid craft and digital fabrication can foster sustainable materialities and narratives to reflect on human-nature-technology relationships and advance sustainability discourses through Janus, a collaborative case study combining local natural elements with 3D printing and crafts. By showcasing a corn stalk alongside its 3D scanned and 3D printed counterpart, the artwork challenges existing human-centric biases and contemporary extractive systems, highlighting human impacts on nature, technological mediation, and sustainability narratives emerging from natural and technological materialities, e.g., different growing patterns, timescales, and perceptions. Similar artifacts foster collaboration and provoke discussions on sustainable practices, acknowledging post-anthropocentric perspectives toward sustainable futures.

Salvaged timber embodies a paradox of contemporary circularity: despite its capacity to store carbon and its long history of reuse, it remains marginal within modern construction. Its reuse is constrained by regulations that both shape and reflect the material’s value. This paper reframes this paradox through the lens of value fluctuation–how financial, carbon, and social values oscillate and misalign across timber’s successive lives, determining whether it circulates as resource, product, or waste. These sequential uses, known as cascade use, describe an approach to resource management that prioritizes biomass retention. Building on this framework, the paper proposes a value-centered cascade-use metric for salvaged timber as a speculative policy tool to visualize, modulate, and stabilize value, enabling longer and more successive cascades. Policy, thus understood as a design medium, can render the dynamic spatial and social consequences of material economies visible, diagnosing systemic frictions and prototyping regenerative, less harmful material futures.

This paper deals with the issue of scientific publishing of design research basing on a national scale approach, that can become a reference and be transferable and replicable in other contexts. In 2023, within SID -Società ltaliana di Design (Italian Design Society), the national research group Pro-Des.Scientific production of Design has been established, committing with the aim of researching and experimenting the complex phenomenon of scientific publication of design. Over the last two years, the group has coordinated and developed several activities to position the topic and set the discussion at the national level by looking at the international panorama focusing on new formats and innovative publishing processes; responsible models for evaluating quality and impact; and diversity in publishing design, Open Access issues, and emerging technologies (AI and scientific publishing).

The Brazilian InfoDesign journal specializes in the subject of information design (ID), with a historical trajectory that reflects efforts in establishing a Brazilian perspective on the traditionally Anglo-American ID epistemology. Recently, the paradox of indexing to gain international scientific recognition marked an inflection point for this knowledge ecosystem, posing new editorial challenges and language barriers while opening avenues for the dissemination of pluriversal approaches. Aiming to map tensions and contradictions in the evolution of information design research in Brazil, this paper presents a comprehensive bibliometric analysis of the InfoDesign journal database, containing 397 publications spanning from 2004 to 2024. Findings indicate a sustained focus on the Brazilian context, encompassing its regional specificities, public policies, and cultural dimensions, as well as on social inclusion regarding information design. The ongoing process of internationalization coexists with contextually grounded studies, suggesting a potential synthesis between global dialogue and local rootedness.

This article examines how researchers can enhance the impact of their work on professional practice by developing effective knowledge products. This term refers to the means by which researchers enable others to learn from the knowledge they generate through their research. The concept of knowledge products is related to discussions on intermediate-level knowledge and alternative forms of research communication. Both elements contribute to the uptake in practice. Despite successful examples of knowledge product development, the design research community lacks a shared theoretical foundation for knowledge products. This paper addresses that gap by 1) framing knowledge products as mediating artefacts that connect two learning processes: those of researchers and practitioners; 2) distinguishing between knowledge form and manifestation form as essential components of knowledge products; and 3) offering practical guidance for designing knowledge products that foster professional learning, reflection, and application.

Digital media offer transformative possibilities for sharing and experiencing research. These new options call for design researchers and publishers to rethink traditional publishing norms. Yet, expanding access alone is insufficient; making academic knowledge meaningful to diverse audiences can drive real impact. How to engage audiences beyond academia to ensure a broader impact? This study applies the design tools framing and analogical modelling to shift the perspective on academic knowledge dissemination. This allows us to recognize scientific outputs as designed products that need to be brought to ‘the market’ with a clear path for reaching and engaging audiences. This study introduces Research Marketization as a novel concept. It incorporates the well-established principles of segmentation, targeting, and positioning. This study further develops the Research Impact Canvas as a practical artifact derived from the principles of Research Marketization and operationalizing them, providing researchers with a structured approach to increase the impact of scientific products.

This paper presents Bembo Officina Editoriale (BOE) as a design-research experiment addressing the epistemological, ethical, and technical tensions in contemporary scientific publishing. BOE develops an open-source, automated editorial workflow—based on Markdown–Python pipelines—to generate fully editable InDesign outputs, reducing production costs and enabling accessibility without compromising design quality. Rooted in a non-profit academic framework, the model reclaims editorial autonomy while resisting the inequities of commercial open-access models based on Article Processing Charges. BOE thus proposes an alternative publishing infrastructure where automation sustains pluralism and transparency. The contribution situates this approach within a critical reflection on the historical continuity between typographic rationalization and algorithmic systems, suggesting that both shape epistemic authority in design research. BOE outlines the potential of collaborative peer review, integrating double-blind review through a public, community-based evaluation that involves reviewers, editors, and authors in an open dialogue, and promotes inclusivity, accountability, and equity in the dissemination of design knowledge.

Online learning platforms give learners unprecedented control over pacing, yet this flexibility often leaves students without support at the moments when they need it most—during transitions between activities, cognitive states, or levels of engagement. Existing self-regulated learning (SRL) interventions tend to rely on fixed schedules or simplistic triggers, overlooking how learners’ trajectories unfold and where they begin to diverge toward productive or unproductive pathways. This paper introduces a framework for trajectory-aware interventions, an approach that integrates temporal design with real-time behavioral diagnostics to identify and support critical transition moments. Through a comparative analysis of major online learning platforms and a synthesis of SRL, trajectory theory, and learning analytics literature, we propose a taxonomy outlining five categories of trajectory-aware interventions. The framework clarifies when, how, and why interventions should be deployed to help learners develop self-regulation skills, maintain engagement, and navigate online learning environments more effectively.

Teaching and learning systems-thinking can often be abstract and, for new students, difficult to grasp. In our first-year Bachelor of Arts design theory seminar our goal was to connect systems theory to practice and thus allow for systems to become more tangible and visible. We asked ourselves: How might systems thinking become more concrete through doing, researching, reflecting, and discussing, therefore leading to a deeper understanding? In this text we present and discuss 'breakfast as a system', an evolving step-by-step and enquiry-based approach to learning. It involves background research, giga-mapping, and how researching and presenting information can lead to more embodied learning and a deeper understanding of systems thinking and complexity, while also becoming aware of pluralism. Moreover, researching and mapping in small groups allow students to acquire a more concrete understanding of the hidden complexity behind everyday products and modern conveniences, including globalisation, infrastructure, and labour conditions.

Vietnam’s textile and apparel industry, one of the world’s largest garment exporters, is under growing pressure to shift from labour-based to design-led and sustainable business models. However, applying Western co-design frameworks within the hierarchical and production-driven context of large enterprises reveals significant cultural and structural constraints. Drawing on in-depth interviews and reflexive journaling, this paper reports findings from two phases of an ongoing project and examine how design participation is understood and enacted across Vietnam’s fashion eco-system, contrasting the relational practices of micro and small enterprises with the fragmented processes of large manufacturers. It introduces đồng-design, a culturally situated approach grounded in the Vietnamese value of togetherness, as a systemic way of designing collaboration across scales. By articulating đồng-design as both a conceptual and practical framework, the study contributes to pluralistic understandings of systemic design and highlights pathways for building design capacity and collaborative agency.

What is the status quo of contemporary design education in the context of sustainability as a holistic and timely training, a binding professional ethos, and materialised everyday practice for future designers? This research investigates how contemporary tertiary design education is responding to polycrisis discourse and the multilaterally demanded paradigm shift towards sustainability. This includes a critical reflection on the political dimension of the term itself. A mixed-methods approach, combining systematic programme mapping, discourse analytical case studies of tertiary design education, and interviews with educators, investigates the translation of sustainability rhetoric into pedagogical practice across design and architecture education worldwide. A considerable variation exists in the conceptualisation and pedagogy of resilient design, transformation design, eco-social design, democratic design, slow design, and many more across institutions. Are design schools, in their capacity as (trans)formative entities, effectively nurturing the ‘resilient designers‘ of the future?

Design is playing an increasingly important role in the liberal arts and in general education at various grade levels. Integrating design into a curriculum can take many forms, from teaching general design literacy to specific disciplinary practices and using design methods to support topical learning. Over decades of teaching game design in various contexts, we have observed how students gain a deep and systemic understanding of topics when designing games on them. Synthesizing our experiences from higher education, we expand on Hanghøj’s model for game-based teaching to include teaching through game design as a pedagogical method. We argue that to leverage the potential of game design in educational settings and further develop this approach, educators and designers must improve their gaming literacy and call for collaboration across disciplines.

This paper proposes speculative co-imagination, a design approach that integrates design fiction with participatory visualization to explore alternative futures. In the post-AI era, as automation replaces standardized tasks, designers increasingly focus on framing critical questions. Design fiction creates plausible yet fictional scenarios to provoke reflection, but often lacks audience engagement. By incorporating participatory visualization, users become co-creators of speculative narratives through data input and interaction. Drawing on the project Sky Protocol, which imagines the urban sky as an algorithmic visual platform, the paper demonstrates how user-driven data shapes collective perception. The practice is guided by a five-stage framework consisting of fictional system framing, participatory input modelling, position formation dynamics, negotiated visualisation construction, and systemic recursion modelling. This study positions visualization as a medium for public speculation and socio-technical critique.

This paper examines how design space for engaging with complexity was constrained, negotiated and expanded within a Dutch public sector organisation providing occupational disability services. While systemic design calls for transformation and embracing complexity, practical understanding of enacting this within a political-administrative context remains limited. Through critical analysis of a participatory action research project, we trace six key moments where possibilities for transformation were opened up or constrained: from processing the initial individual-centric framing, through recognising relational complexity, to translating insights into interventions. Our analysis reveals tensions between systemic aspirations and organisational realities: while the project successfully reframed reintegration from an individual-centric to relational understanding, translating this perspective into design interventions proved challenging. The paper offers actionable insights for systemic design practice in public sector contexts, demonstrating both the promise and limitations of design for transformation and systemic change within established organisational environments.

Relational negotiation, contextual adaptation, and reflective exchanges between designers and non‑designers are central to how boundary objects shape knowledge creation and systemic insight in Systemic Co‑Design (SCD). Drawing on the ESCollab publication, this study examines two embodied SCD cases, the MelkSalon and the Co‑Design Canvas, which foreground sensory, experiential, and artefact‑based engagement. Using systems thinking, Relevance Theory, Aristotelian rhetoric, and affordance theory as lenses, we analyse how these boundary objects mediate boundary framing between designers and non‑designers. Findings indicate that boundary objects are most effective when grounded in contextual and cultural realities, fostering emotional engagement, trust, and adaptive participation to support collaborative meaning‑making and systemic change. However, challenges of replicability and scalability persist, as sustained facilitation, contextual sensitivity, and participant readiness remain critical for impact. We argue that deeper co‑ownership and transformation occur when SCD boundary objects are designed and used as embodied, pluralistic, reflexive “boundary experiences” rather than technical templates.

This paper explores the role of data within participatory systemic design, focusing on how structured and unstructured data influence participation, sensemaking, and representation. Through three interconnected applications, the research examines how systems’ visual representations function as boundary objects that enable dialogue, trust, and shared understanding among diverse actors. Drawing on the concept of unstructuring data, the paper discusses how transforming data from fixed, expert-driven artefacts into open, evolving representations fosters inclusivity and reflexivity in design processes. The findings highlight that structured data support decision-making in well-defined contexts, whereas unstructured data stimulate exploration and collective learning in complex or fragile territories. Ultimately, the paper reframes mapping as a translational and ethical practice that enables designers and stakeholders to co-create a systemic understanding through dialogue, negotiation, and iterative reflection, supporting sustainability transitions grounded in participation and situated knowledge.

This paper introduces design ethnographic methods—participatory observation and visual mapping activities—used in the discovery phase of a co-design project aimed at optimising blood culture pathways for potentially infectious patients across three NHS trust emergency departments in the UK. By integrating participatory systemic design with ethnographic approaches, the study enabled clinical staff to share their insights and shape service workflows. Their engagement reshapes systemic thinking for blood culture pathways used by clinical staff, enabling researchers to frame co-design workshops and later systemic interventions for the next stage of the research project. This paper emphasises the significance of systemic visual mapping activities as a transitional intermediate research method between participatory observations and co-design workshops in the discovery stage. It provides insights and strategies for design researchers on conducting participatory research activities and engaging with participants through accessible visual materials and participatory data collection tools in complex, high-pressure contexts.

Behavioral public policy design tends to take a top-down, evidence-based approach to prompting behavioral change through mechanisms like ‘nudges.’ Yet behavioral responses to evolving conditions in complex systems—such as the recent No Kings rallies and anti-ICE activities in the US—often manifest as emergent, self-organizing movements, representing a powerful ‘bottom-up’ form of behavioral change that provides an alternative to traditional behavioral policy. This paper proposes a behavioral systems framework to explore the dynamic of behavioral emergence in a systemic context, composed of two matrixed dimensions: 1) micro, meso, and macro system levels; and 2) mechanisms that support behavior, ranging from targeted interventions, to underlying infrastructures, to ideological influences such as underlying belief systems. It then illustrates this conceptual model more practically through the lens of No Kings and anti-ICE activities and reflects on how behavioral public policy can incorporate more systems-oriented approaches to better support similar emergent behaviors.

This paper examines how design-led activities function as micro-systemic interventions that can influence people’s perceptions, actions and decision-making towards the futures. Using the optical metaphor of a design lens, we reinterpret Voros’ (2003) Futures Cone as a flexible field of vision that can be focused, dispersed, or magnified through design. The “design lens” serves as a conceptual framework comprising three components: design settings, information, and collectiveness. We apply this lens to two projects: a speculative walking workshop for policymaking, and a creative engagement project with residents in a social housing redevelopment. The aim is to examine how these elements interacted and how design activities were reshaped in response to participants' interactions. Our discussion emphasises its potential to influence people’s worldview, addressing the importance of the ethical implications in micro-systemic design. We argue that systemic change can emerge through micro-interventions situated in collective, reflective, and crucially ethical design settings.

Urban curators, citizen-professionals with creative backgrounds, who mobilise their skills to orchestrate positive local change, require tools that help building community, engaging institutions and establishing legitimacy within complex transition dynamics. This paper examines Huis van de Toekomst (HvdT), a community space in a Rotterdam district undergoing a shift from natural gas to district heating, where using a participatory design approach, we co-developed a digital community visualization prototype. Using dramaturgical analysis, the study shows how the setting and composition of participatory events, and how different actors are addressed, influence how community and institutional dynamics unfold. The prototype functioned as a boundary object that enabled HvdT to reflect on its organizational model and legitimacy and exposed tensions between community-driven and institutional approaches. The paper argues that using a dramaturgical approach in design practice to create open-ended, iterative processes can foster institutional learning and adaptation, strengthen collective agency, and provide credibility.

This paper analyses how transition intermediaries and participatory infrastructures shape an unjust energy licensing process and outlines implications for design for just transitions. Centring on the Fosen Wind Farm in Norway, where wind power development violated Indigenous Sámi cultural rights, it traces how licensing enabled renewable expansion while generating democratic and rights-based conflicts. Using historical case analysis and a synthesis of various literatures, the paper explores the intermediary ecology of licensing and shows how interactions among transition intermediaries structure power asymmetries. In dialogue with design research on infrastructuring, it proposes three practices for design in just transition contexts: unveiling institutional–cultural divides, platforming under-represented voices, and engaging in ongoing collaborative infrastructuring and reflexivity. It argues that designers must act in power-aware, rights-oriented ways if transitions are to be both sustainable and just.

Transition arenas are organised to facilitate and guide sociotechnical system change. The organisers invite identified stakeholders in the set problem area to design desirable futures and develop transition pathways. Typically, a transition arena is organised by a transition team who wield power and authority in the transition context. Our broader research project develops transition arenas to facilitate a transition towards gender-equal futures in the Finnish music industry. This research-through-design study investigates how transition arenas can be organised in alignment with intersectional feminist values, specifically focusing on the establishment phase of the process. Through workshops with industry stakeholders, we explore avenues for transition arenas to become industry driven, centre the impacted people and decentre the transition team. In our analysis, we bring forward both how stakeholders are given power and agency over the transition process before the transition team is formed and the impact that this approach has.

In response to escalating socio-environmental challenges, transformative approaches in architectural design are crucial for facilitating urban transitions. Conventional adaptation strategies, prioritising density and digital integration, often fail to address the multifaceted crises facing modern urban contexts. Participatory architecture offers a shift towards socially engaged practices, fostering innovation and sustainable adaptation by creating spaces of disruption. This study evaluates projects in Colombia, Spain, Senegal, and the UK using our tailored/expanded deep adaptation framework through four components— resilience, relinquishment, restoration, and reconciliation. Our findings reveal that participatory architecture can enable communities to transform vulnerabilities into actionable interventions for sustainable development and transitions. By fostering dialogue and collaboration, the framework acts as a mediator of socio-environmental transformations, promoting equitable urban planning, climate resilience, and empowerment. This paper underscores participatory architecture's pivotal role in reconfiguring human-ecological relationships and highlights its potential to address complex challenges in diverse global contexts.

Amidst the upheaval of the Fourth Industrial Revolution and the threat of the Sixth Extinction, designers focus on approaches that help communities connect and imagine alternative, desirable futures. Transdisciplinary approaches promise more sustainable and just transitions by valuing and integrating diverse forms of knowledge to co-shape more

equitable design interventions. However, these ambitions often fall short. Transdisciplinary practices may be reduced to justice-washing or corporate co-optation, frequently failing to achieve epistemic and social justice. This paper introduces Responsible Futuring, a transdisciplinary design-led approach that enables communities to actively shape their future trajectories, embracing collaboration and diverse perspectives as catalysts for transformative action. We, as designers, self-reflect on cases using this approach to surface worldviews, explore alternative futures, and challenge the status quo. We discuss the epistemic and political shortcomings we experienced in practice. We highlight growing pains and offer recommendations for achieving transformative transdisciplinary ambitions

in addressing societal transitions.

This article examines the epistemological, political, and practical challenges of transdisciplinarity in a participatory design project with agroforestry family farmers in São Paulo, Brazil, within the Design for Biodiversity initiative. By bringing together designers, scientists, and farmers, the project demonstrates how participatory design operates as a negotiation between institutional knowledge and vernacular expertise. Farmers’ experiential knowledge informed design decisions and interpretations of socioecological dynamics. Findings reveal tensions not only in interactions with farmers, requiring communication adapted to accessible language and local realities, but also within the academic team, due to differing worldviews and validation standards. Through a design-led action research approach, the study argues that such frictions are productive mechanisms that foster regenerative futures. Embracing conflict and co-construction reposition design as an agent of territorial autonomy, community resilience, and socio-ecological regeneration, expanding its role beyond sustainability toward ecological restoration and recognizing non-academic knowledge as central to situated design outcomes.

This paper extends cosmopolitical prototyping into the olfactory domain to examine how smell can operate as a diplomatic device for interspecies coexistence. Building on a longitudinal, autoethnographic research through design project, we report multi session fieldwork with two captive pumas—Huilo (older, methodical) and Maqui (younger, playful)—at Refugio Animal Cascada, Chile. The study sought not to apply enrichment as an external fix, but to co constitute a situated more than human we in which animal, designer, materials, climate and infrastructures jointly stage conditions for safe relationality.

We designed textile olfactory braids (reused cotton braids and burlap sachets) infused with botanicals (e.g., lavender, hibiscus, rose; rue, parsley, cilantro, rosemary) and deliberately excluded food rewards to avoid prey without prey frustration and to privilege curiosity led engagement. Braids were mounted on the shared boundary fence, intentionally leveraging it as an interface that both separates and enables contact.

Dutchmen like to pride themselves on having ‘successfully conquered nature’ through engineering, management and design. Currently, however, this triumphant spirit has been dampened by global, regional, and local developments that expose established Dutch notions of malleability and control as fallacies. This paper uses the unsolicited return of wolves to the Netherlands as an explanatory case study to illustrate how in this unfolding controversy problem and solution spaces co-evolve and thus call for all-but-reductionist design and management approaches. Building on the crucial difference between problems (that can be solved) and issues (that can be stabilised), a model is proposed that explicates how problem and solution spaces can nest inside an overarching issue space. After analysing how Dutch citizens and officials respond to uncalled-for circumstances caused by the wolf’s uninvited homecoming, this model is used to argue for co-evolutionary thinking and acting to support harmonious more-than-human cohabitation in the Netherlands and beyond.

Office plants are ubiquitous in urban workplaces, yet they are often treated as disposable decoration rather than living co-inhabitants. This paper examines how interaction design can reconfigure this cultural framing. Using a research-through-design approach that combines interviews, the creation of an aesthetic biofeedback artefact, and a longitudinal deployment, we explore how plant vitality, expressed through light and sound, shapes everyday encounters between employees and plants. Rather than improving maintenance efficiency, the artefact functions as a relational probe. Participants described empathy, comfort, and companionship, alongside guilt, pressure, and resistance when the plant’s expressions demanded attention. These tensions show how care for nonhuman beings emerges through sensory attunement, workplace rhythms, and ongoing ethical negotiation. We contribute to more-than-human design by demonstrating how aesthetic biofeedback shifts plants from background decoration to perceptible co-presence and by identifying relational mechanisms through which care and responsibility are enacted in workplace settings.

This paper explores shape-changing materials as agents of material diplomacy within More-than-Human Design. Drawing from Latour’s Parliament of Things, posthumanism, and new materialism, it investigates how responsive materials mediate ecological and interspecies relations. Through a multiple-case study approach, ten design projects are analyzed using a five-dimensional framework—environmental attunement, ecological flourishing, expressive vitality, co-existence and augmentation, and relational mediation. The analysis explores how these materials can perform communicative and political roles, positioning design as a diplomatic practice that negotiates shared concerns among species, technologies, and environments. It attempts to question extractivist models, support ecological repair, and cultivate forms of interspecies attentiveness. The paper contributes to debates on More-than-Human Design by proposing micro-parliaments of care—small-scale socio-material infrastructures that translate environmental processes into collective awareness and action. It proposes materials as participants in planetary politics and indicates a pathway for design to move beyond representation toward the collective governance of life.

This research explores how Inclusive design can be expanded to recognise nonhuman stakeholders by engaging perspectives from the More-than-Human turn. Using Research-through-Design, the study combines literature, semi-structured interviews, and case studies to identify barriers to designers’ responsible engagement with nonhuman entities. The findings reveal that while designers are open to widening inclusion, current practices remain centred on human empathy, usability, and evidence, leaving nonhuman concerns unaccounted for. Instead of expanding the repertoire of prescriptive tools, what is needed is the cultivation of attentiveness and care that enables designers to engage meaningfully with nonhuman agencies. This research offers two contributions: (1) a sensitising concept: More-than-Human Inclusion, which reframes inclusion as relational accountability that extends inclusion to nonhuman stakeholders while remaining accountable to historically excluded human voices, and (2) a speculative provotype composed of audio-narrated nonhuman stories that materialises the concept and proposes how such sensibilities might be cultivated in practice.

This paper investigates the transformation of NHS Scotland garment systems through a design-led, commons-based localist framework that challenges prevailing globalised procurement models. Drawing on co-design methodologies and sustainable material innovation, this project repositions garments - specifically surgical caps and scrubs - as relational artefacts embedded within systems of care, identity, and ecological responsibility. Collaborations with healthcare professionals, designers, and regional manufacturers have yielded prototypes utilising regenerative fibres such as lyocell and linen, made locally within Scotland. These interventions demonstrate the potential of commons-design to foster civic engagement, decentralised production, and circular economies. By embedding garment systems within local ecologies and economies, the research advances a situated design paradigm that foregrounds care, stewardship, and institutional transformation. The paper argues for a conceptual shift from commodity-design to co-design and ultimately to ‘commons-design’, offering a replicable model for sustainable innovation in healthcare infrastructure that is both socially responsive and environmentally attuned.

This paper reflects on how two dementia-friendly communities (DFCs) in Scotland shaped participatory research exploring interactive textiles for wellbeing. Drawing on two practice-based studies in Scotland, study 1 which was based in the Outer Hebrides and the study 2 based in both the Outer Hebrides and East Lothian; it explores how place, geography, culture, and community influence participation and sense-making. Using Research through Design (RtD) and person-centred methods, both projects engaged participants using or making interactive textiles. Comparing the two locations shows that the remoteness of the Hebrides, the Gaelic language, the historical textile industry and the surrounding environments fostered distinct forms of connection and belonging, while mainland workshops presented more of a challenge to find culture, interest in textiles and belonging. The paper argues that place is an active collaborator in research and explores how locality shaped participatory design research from ideation to findings.

This paper explores how craft, as an unselfconscious design practice and embodied knowledge, contributes to situated design research, based on an ethnographic field study in Fife, Scotland, and a co-creation workshop in Edinburgh. The study points out that existing studies and practices promoting craft–design collaboration tend to focus on urban contexts and designer-led methods, often resulting in a lack of context-sensitive consideration and the presence of imbalanced relationships. Thus, this study underscores that understanding the local knowledge of rural-based craft practitioners and the distinct attributes of rural settings can respond to the challenges of rural craft practices and the barriers to collaboration. The fieldwork and workshop reveal that creating non-hierarchical collaborative spaces, based on situated knowledge gained from local contexts, can encourage spontaneous knowledge exchange and empower craft practitioners to confidently present their craft knowledge, which bridges craft and design to promote meaningful collaboration and long-term sustainable development.

There are five unique historic burial grounds within the proximity of Edinburgh’s city centre. Cross-sector consultations with police, heritage and council officials decry the decline of these spaces. Each is at risk; erosion, limited resources, and perceived anti-social behaviour obscure their value as social spaces apt to explore, share and process grief. The potential of these historic sites has been limited to imagining convivial and heritage-aligned uses of graveyards. This case study explores their potential as unique spaces to publicly discuss bereavement, mortality and grief through design workshops. It argues that designing provides an appropriate process to scaffold these conversations in situ and in so doing, can generate novel ways of engaging with grief. The authors identify the potential of Edinburgh’s historic burial grounds as spaces of grief dialogue through design, contributing to a transdisciplinary and participative approach to facilitating a constructive dialogue into how and where we grieve.

Putting emotions into words is a natural human strategy for reinterpreting situations, even when done unintentionally. Evidence shows that this process, known as affective labelling, can reduce distress compared to non- affective verbalisation. Given that, the word 'fine' is widely used as a self-report label for emotional states, yet its meaning remains strikingly ambiguous. Limited research has explored such neutral or mid-spectrum emotional terms that are neither overtly positive nor negative but still shape the design process. This study examines how Scottish design students use 'fine' to describe their emotional experiences during their final design projects. Semi-structured interviews were conducted to clarify the interpretation of this expression. Findings reveal that 'fine' represents a neutral state with negative undertones, reflecting emotional disengagement or low-intensity dissatisfaction. These results highlight the need to contextualise expressions within design education, emphasising their role in understanding students’ emotions and engagement throughout their design journeys.