Conference Agenda

This paper reclaims the role of design as a practice of meaning-making within human–ecological systems. While meaning has always been part of design discourse, successive turns – semiotic, experiential, relational – have addressed what meaning is without asking why living systems make meaning at all. Drawing on recent advances in neuroscience, biosemiotics and code biology, it argues that meaning-making is not a cognitive phenomenon unique to humans but a regulatory process intrinsic to living systems. Code Ecologies offers a philosophical framework that reinterprets the biosphere, technosphere and semiosphere as interdependent ecologies of codes, resonant with relational and Indigenous cosmologies. The paper locates design's agency within the semiosphere, where meaning systems, values and legitimacy are formed, distorted or repaired. When these codes lose alignment, both social and ecological systems falter; design intervention in the ecology of meaning thus becomes a form of regenerative semiotic agency and a precondition for ecological renewal.

As artificial intelligence evolves into ambient, distributed systems, design faces an ontological transformation. The traditional interface, once the visible boundary between humans and machines, is dissolving, giving rise to new modes of intuitive, sensory, and relational interaction. This paper argues for a shift from interface to intuition, where design no longer mediates through visual representation but orchestrates subtle ecologies of perception and awareness. Drawing on design philosophy and posthuman theory, it explores how AI redefines core categories of form, presence, and authorship, suggesting that meaning now emerges through attunement rather than control. In this post-visual paradigm, designers act as mediators of resonance between human and non-human intelligences, cultivating shared fields of cognition and emotion. Ultimately, the study proposes an expanded ontology of design, no longer centered on objects or images, but on relationships, sensitivity, and the ethics of coexistence in the age of ambient intelligence.

Building on the German philosopher Heidegger, design philosophy has historically dealt with handiness (zuhandenheit/vorhandenheit) as an ontological relationship between an individual, a technology, and an artificial world. Such handiness conceptualization does not account for the social accumulation of work necessary to bring technology ready-to-specific-hands. Building on the work of Brazilian philosopher Vieira Pinto, this investigation foregrounds the collective aspect of handiness to account for the articulation work behind a new design philosophy program, prospective design. This program embraces philosophy through design; therefore, this investigation includes a description of a stakeholder mapping workshop in which serious play was used to develop the prospective design program's collective handiness, both in theory and in practice. By mapping who is “at-hand” (and who is not) for this program's ends, the collective body of researchers realized their fundamental relationship with their world.

“We have never been modern” wrote Bruno Latour, proposing that the dualism between nature and society has represented a convenient fiction. If humans have never genuinely stood apart, what happens to one of its most anthropocentric fabrications, citizenship? Conventionally a marker of political agency, citizenship determines who can speak, act, and belong. This conceptualisation excludes the multiple more-than-human agents shaping collective experiences. Building upon Plessner’s concept of positionality, the paper introduces “Positional Citizenship” to transcend the Cartesian divide between humans and more-than-humans, reshaping the political as a relational space of co-presence. Building on this shift, design becomes a practice of relational reconfiguration, making these distributed agencies visible and actionable. This paper outlines mechanisms facilitating this transformation: unlearning Western ontologies of mastery; integrating indigenous epistemologies of interdependence; recognising non-human entities as agents; cultivating material ethics and care; translating institutional and infrastructural assemblages; and working within interstitial ecologies where hybrid forms emerge.

This paper introduces the lustre of hands—a term used to describe the gentle, subtle sheen that appears on things through long and caring contact with human hands. This concept challenges the visual paradigm and the pursuit of the new in contemporary design. It suggests that the traces of touch and time embody care, continuity, and human presence. Illustrated through the author’s example of a family inkstone, whose surface bears the lustre accumulated over generations, it offers design a powerful perspective: to appreciate the marks left by time and use to make things more fully used rather than wasted; to give greater value to the tactile; and to reflect on the relationships between design, making, and use—toward a more sustainable and inclusive society.