Conference Agenda

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

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

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

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

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

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