Conference Agenda

Collaging is a form of design that references, remixes, and transforms the past, while holding potential for queer decolonial imaginaries. Through bringing together decolonial and queer theories, we propose an exploration of collage as a design technique that seeks to tear through dominant imaginaries to create more emancipatory visualizations. To explore this, we first turn to feminist theoretical understandings of collage, and then ask: how does collaging show up as a distinctly queer and decolonial design practice? Then, we utilize examples from our field work to demonstrate how collage can function as a queer and decolonial design practice that shows up in everyday life. Finally, we take these observations to our pedagogical practices and illustrate how making collages in the classroom generates an embodied practice that not only deepens understandings of queer and decolonial theory, but also visualizes alternate futures.

The National Education Policy of India (2020) states that Social Emotional Learning (SEL) is essential towards student’s holistic development. While existing curricula provide structured guidance and learning, they often lack playful and participatory elements to engage children in the learning process. This paper describes the design and evaluation of a non-digital, co-operative and playful activity called Bhavna Chakra (Wheel of Emotions) which aims to teach children about emotional awareness using Plutchik’s Wheel of Emotions. The study proposes a design framework based on cognitive appraisal theory, narrative structure and social play. A within-subjects study with 40 students (ages 11–12) from low socio-economic backgrounds compared Bhavna Chakra with an existing SEL task. Children demonstrated higher gains across five of six emotional awareness dimensions (EAQ-30), with notable improvements in differentiating and analyzing emotions. The findings highlight the value of culturally grounded, playful artefacts for SEL in low socio-economic settings.

This paper challenges how contemporary design activism has been defined and practised. While Western frameworks have framed activism through countering narrative, raising awareness and social change, this paper proposes a move from a position of countering toward a position of affirming. By looking at the history and current practices of design activism and examining the deficit of the “unheard” paradigm, this paper highlights the limitations of oppositional logics that centre critique over creation. This paper then explores alternative understandings grounded in decolonial, Indigenous epistemologies, and the voices of the global majority. Through examples and case studies, the paper illustrates how creative activist practices can be expressions of lived experiences, tools for radical imaginations and spaces for collective healing and truth-telling. Through this, the paper reframes design activism through positions of affirmation, relationality, and the genuine articulation of pluriversal ways of being, imagining, and creating a better world for all.

This paper examines the PhD onboarding process as a site of co-creation and relational design between supervisor and student. Drawing on first-person experience, we present a series of collaboratively annotated and devised documents - The Table of Supervisory Style, Competency Profile Form, Competency Development Trajectory, A Gentlewoman’s Agreement, and Marching Orders - as performative artefacts that structure dialogue, reflection, and trust-building in supervision. These practices have emerged within an industrial design context at a university of technology, where institutional expectations intersect with creative and emergent modes of inquiry. We argue that onboarding can function as a design-led intervention: a process that materialises values, negotiates positionality, and reconfigures traditional hierarchies of academic supervision. Through the deliberate use of ambiguity, reflexivity, and value articulation, the process cultivates spaces of mutual learning and identity formation. The resulting framework positions supervision as an ongoing design practice that evolves through shared authorship, understanding, and critical awareness.

Design education has embraced empathy, developing a diverse repository of tools and methods for cultivating empathic engagement. Yet guidance on how or why these tools should be selected remains limited. Current practices often conflate availability with appropriateness, with tools chosen based on familiarity or convenience rather than empathic fit or contextual suitability. This leads to shallow engagement, limiting the empathic understanding needed for effective design outcomes. This paper proposes a criteria-based framework for evaluating empathy tools, grounded in psychological theory and established empathic design frameworks. The proposed criteria offers a structured lens to assess how tools operate, for whom, and to what effect. Supporting this is an Empathy Tool Repository of 65 design methods, analysis of which reveals important patterns in current practice which demonstrate that true empathy is rarely achieved through a single tool alone. The framework provides selection wisdom to enable a shift from tool-first to intention-first pedagogy.

This article takes the Shenyang China Industrial Museum as an example to expose the interpretation and design of China's representative industrial heritage museums dominated by authoritative narratives and technocratic biases. Through the case study of the “Steel Home Still” exhibition, explore how narrative design can reconstruct industrial archives and challenge their power structure. This article conducts a comparative analysis of two cases based on three parameters: narrative themes and strategies, representation of individuals and workers, technology narratives and human engagement, discussing how human-centered exhibition narratives reposition human memory at the core of industrial heritage, transforming it from static representations of industrial and technological achievements into a dynamic platform for emotional connections and inclusive storytelling of workers and industries. The research results show the exhibition achieves this goal by reconstructing multi-dimensional scenes of workers' work and life, juxtaposing technological and living environments of different eras, and employing universal emotional narratives.