Conference Agenda

The recent more-than-human turn in design calls for attentiveness to nonhuman beings. Yet—as Thomas Nagel's famous "What is it like to be a bat?" thought experiment highlights—human experience is constrained by our own sensorium and an irreducible gap in phenomenal access to nonhuman Umwelten. Grounded in eco-phenomenology and eco-somatics, this paper proposes Experiencing the More-than-Human through Human Augmentation (MtHtHA, or ">HtH+"), a design approach that repurposes human augmentation technologies—typically aimed at enhancing human capabilities for human optimization—to create temporary, embodied, first-person experiences that modulate the human sensorium to approximate nonhuman sensory experiences, cultivating ecological awareness, empathy, and care across species boundaries. We articulate seven design principles, report five design cases—EchoVision (bat-like echolocation), FeltSight (star-nosed-mole tactile navigation), FungiSync (fungal network attunement), TentacUs (octopus-like distributed agency), and City of Sparkles (urban data from an AI's perspective)—and discuss implications for more-than-human aesthetics and design practice.

This paper investigates biodiverse design as a practice through which environmental ethics can inform architectural production. Drawing on the concept of bioempathy—understood as the recognition of the intrinsic value of the biotic community—it develops an ethical and operational framework for guiding design reasoning. This framework is then applied to a reflective analysis of biodiverse wall prototypes developed by the author with an interdisciplinary team, used as an empirical ground to examine how ecological intentions were translated into material and spatial decisions, and how observations of plant establishment and spontaneous colonisation contribute to reassessing the assumptions embedded in those intentions. The case highlights how designed systems interact with more-than-human processes that unfold beyond full designer control. Through this combined theoretical and empirical inquiry, the paper reflects on the methodological implications of engaging living systems in design research and examines how biodiverse design may challenge certain conventional architectural values.

This paper employs environmental humanities theories through design, translating them into a more-than-human experiential pedagogy. Drawing on Haraway’s (2016) concept of humans as “humus” and Braidotti’s (2013) notion of the subject as embodied and embedded, it presents an approach that uses the human body to cultivate ecological literacy and make ecological relations tangible through personal involvement. In two public workshops, participants produced phosphate fertiliser from their urine, revealing connections between bodily and planetary metabolisms. This linked the biogeochemical flow of phosphorus within the Planetary Boundaries framework (Rockström et al., 2009) to everyday routines, reframing urine from taboo to resource. The experiments deepened awareness of human entanglement in ecological systems and demonstrated the practical implications of more-than-human design. Three interrelated learning dynamics emerged: embodied ecologies, aesthetic resonance, and planetary intimacies. The project shows design's role beyond the professional realm by following Fry's (2012) view that every-body is a designer.

This study explores how design researchers in Europe understand and enact nature-centred biodesign for regeneration: an emerging approach that bridges design, biology, and ecology to foster regenerative futures. It proposes an evolutionary framework of design agency, mapping the transition from imitation to co-evolution and from instrumental ethics to ecological justice. The framework highlights four paradigmatic quadrants: Anthropocentric Planning, Emerging Bioeconomy, Socio-Ecology, and Regenerative Biodesign that capture how ethical, ecological, and material orientations shape practice. In parallel, it employs a qualitative analysis of a questionnaire with 32 researchers from COST Action DESIGNAE (2025), which investigates how design operates between scientific, material, and social domains in biodesign. Findings reveal that while cross-disciplinary collaboration and material experimentation are flourishing, current approaches remain mechanistic, rooted in optimisation, scalability, and urban-technological paradigms. However, emerging translational and participatory practices indicate a gradual shift from design as problem-solving towards design as a mediator of ecological relationships.

Creative AI technology (AI used in creative practices) is predominantly designed through human-centered approaches, and more specifically human-centered framing of creativity. Drawing on More-than-Human (MTH) design, in this paper, we argue for the need to shift from designing for human-centered creativity to designing for sympoietic making-with within situated ecologies, when it comes to creativity technology. We approach this through a relational, site-oriented design research inquiry that starts with a multispecies ethnography in a local ecology. Through this, we develop insights of more-than-human co-creation processes within the environmental ecology and bring these insights to a materialized form in speculative designs to examine them further. Subsequently, we examine the speculations through the critiques of human-centered conceptualization of creativity, providing an analytical tool for examining human-centered vs. more-than-human-centered notions of creativity in the design processes of creativity technology.

AI devices are structured by “seamless” and “emotional” design, which conceals many underlying mechanisms and algorithmic rules. By contrast, behavioral objects – through defamiliarization and misbehavior – prompt critical reflection on our relationship with technological artifacts and expose their inner workings. However, most behavioral objects, particularly in art contexts, are designed to ensure predictable outcomes and audience interactions, revealing an underlying desire to tightly control the discourse produced by the work. This paper contends that their critical significance can instead emerge from their material presence through a frictional, more-than-human approach in which dysfunction becomes a source of unpredictable expressivity and cooperation. Drawing on the analysis of two prototypes (Data Airbag and CamIA), the paper shows how their design processes and public interactions reveal that integrating friction and alterity from the earliest stages of creation fosters ongoing processes of co-elaboration between humans and artifacts.