Conference Agenda

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

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

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

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

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

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