Conference Agenda

Historical materials can support generative design work, however a tendency to focus on new and emerging technologies as design material mean the creative qualities of the past are underappreciated. This paper presents findings from four workshops that explore material and immaterial forms of history to better understand how the past might serve as material for design. Our findings illustrate how different material forms afford or limit relational connections to the present design context; that design references can hinder transformational experiences in practice; and how archival gaps and personal memory can also serve as design material. Our analysis underscores the need for designers to critically reflect on the biases embedded in historical materials, as well as the material traces they produce.

Since its inception two decades ago, biodesign has consistently been conceptually hazy. It´s an emerging interdisciplinary field lying somewhere between biology and material sciences on one hand, and art and design practice on the other. Despite efforts by academia and industry to define and contextualise biodesign, the lack of shared vocabulary between its two sides and clear standards for who qualifies as a biodesigner continues to hinder its development. This study combines a literature review to examine how biodesign has been defined over time, alongside a survey that analyzes who identifies as a biodesigner. The aim is to explore the range and depth of scientific and creative knowledge needed for effective collaboration, reflecting on the diverse pathways through which expertise in biodesign is developed, in order to support the articulation of a disciplinary framework, termed biodesign literacy: a framework combining biological knowledge and design ways of knowing.

As car interiors transition toward emerging sustainable materials, exploring historical patterns of material use may inform future iteration and adoption. While automotive exterior literature is abundant, historical studies of interior trend evolution are rare. This study investigates over 60 years of interior material and form trends using Australian Wheels magazine’s annual ‘Car of the Year’ winners (1963-2024). Objective visual observations of 57 car interior image-sets built an abductive-coded matrix, followed by visual pattern analysis. This identified a cyclical trend in metal usage, and an evolutionary transition of gloss to matte surface finishes. Subjective scoring of interior shape using scales of simple-complex and curved-angular generated a scatterplot demonstrating form language evolution across the four quadrants. This study contributes to Australian car history literature and establishes a replicable visual analysis method to explore similar datasets globally, paving the way for a comparable body of material-form data in interior automotive research.

This research explores ornament as a form of material intelligence in large-scale additive manufacturing. Through the evolution of two design case studies, this paper investigates how micro-scale design articulation evolves from surface tectonics to the traces of the machine’s toolpath and material behaviour. One reveals itself as an organic, agent-based, data-informed modulation. The other integrates a woven toolpath strategy that transforms 3D printing into a spatial composition. Considering ornament not only as an aesthetic element but as a manifestation of process creates a dialogue between matter, performance, and application. With the help of computational design and data, this intervention expands the discussion of digital craftsmanship across multiple scales of design.

Online presentations of digital art place artists in an ongoing trade-off between gaining exposure and protecting copyright, one that current platforms inadequately support. As a result, artists often rely on aesthetic watermarks, yet how they manage this balance remains underexplored. In this study, we conducted a co-creation workshop with 18 digital artists and examined how they design aesthetic watermarks in practice. Analysis reveals three key concerns shaping their decisions: aesthetic integrity, semantic fidelity, and protective functionality. Participants struggled to manage the tension between protection and artistic completeness, while also expressing growing concerns about the security of their work, facing rapid AI advancement. These design choices reveal how artists are forced to compensate for gaps in platform governance and technical systems through their own effort. We argue that copyright protection should move beyond technical solutions toward institutional redesign that empowers artists and restores dignity within the digital art ecosystem.

Faculty and students in our Architecture Department have been engaged as one of the four research teams in an interdisciplinary and interjurisdictional collaboration funded by the National Science Foundation (NSF). The overall goal of this research is to develop the science, technology, design, and educational frameworks focused on the utilization of wood waste to make 100% bio-based materials for the Advanced Housing Manufacturing Industry of the Future. The Architecture Cradle-to-Cradle Design Team (C2C) focused on: 1- developing design speculations and scenarios for wood composites and additive manufacturing architectural applications (research-by-design); 2- developing a customized assessment toolbox for determining performance benchmarks comparable with other commercial building material metrics; and 3- developing curriculum and pedagogical strategies for educating the Architecture, Engineering and Construction (AEC) industry and community on transformations suggested by this research. This paper discusses outcomes and insights from our C2C third goal regarding contributions to education of the AEC industry.