Conference Agenda

Moving beyond instrumental rationality that treats materials as passive objects, this study operationalizes the Art of Making (AoM) by proposing a three-dimensional degeneration approach. Degeneration disrupts object fixity, reframing objects as materials in a state of in-betweenness that invites co-creative dialogue. Adopting drawing as a universal making practice, we empirically grounded this proposition through five workshops with ten participants from diverse countries and design backgrounds. By degenerating sensory, bodily, explorative, and social dimensions of drawing products and practices, the resulting state of material-in-between invited participants into dialogical engagements. Findings reveal that this state sparks curiosity, transcends preconceptions, activates subconscious exploration of self-identity, and reshapes human-material relationships from hierarchical to co-evolutive. As an initial exploration, this study is confined to drawing practices and participants came predominantly from art-based design backgrounds; further research should examine its application across other materials, practices, and user groups, as well as its long-term effects.

Classic “Making as Knowing” relies on tangible resistance from physical materials, but this framework is insufficient for intangible virtual materials in Large-Scale VR, often leading to the “problem of spectacle.” This research explores how “Making as Knowing” is reframed in this context, using a Research through Design (RtD) approach with a novel “Mandated Design Rationale Protocol.” The paper argues that “making” transforms into a rigorous epistemic practice of “systemic and experiential tuning” to generate “Knowledge of Experience” (K-OF). A reception study (N=31) confirmed a strong alignment between the designer’s K-OF targets and visitors’ takeaways. This work offers a traceable RtD methodology and an empirical framework to address the “problem of spectacle.”

This study examines mani stone piles in Eastern Tibet as material forms emerging through dwelling, movement, and situated acts of making. Drawing on Tim Ingold’s dwelling perspective and long-term visual ethnography conducted between 2016 and 2025, it shows how mani piles are produced through the embodied selection, carrying, and stacking of stones at passes, riverbanks, and crossroads. Rather than treating these piles primarily as fixed religious symbols or products of prior design intention, we argue that their forms arise from the practical coordination of bodily skill, available materials, topography, ritual habit, and movement through the landscape. It further shows that these practices are being reshaped by tourism and digital image circulation, which increasingly privilege standardised and image-oriented forms over locally responsive processes of making. The study offers an ethnographic account of this transformation and its implications for debates on dwelling, making, and mediated visibility.