Conference Agenda

Games are common artefacts and systems for design research, appearing as engagement tools with publics or specific audiences, expressions of ideas, and as tools for speculation. Games have proven value as instruments or outputs supporting this work, but the process of designing games is rarely centered as a moment of production of new knowledge and understanding. Taking inspiration from Research through Design more broadly, we position Research through Game Design as an approach that delineates space to challenge systems, break from norms, provoke, critique, explore, experiment, critically design, and reflect on the frictions and boundaries of ideas, artefacts, and systems. This paper is for people interested in, or who already are, designing games as part of their research. Through four games it explores what research looks like during the game design process, and how knowledge and insight from within that process can be captured and communicated.

Design fixation - the unconscious adherence to familiar design patterns that limit creative exploration - remains a challenge for creative practitioners despite advances in the development of creativity support tools. While recent work in design research has explored how large language models can augment human creativity, evidence suggests these systems may exacerbate fixation. We propose machine unlearning as a novel approach to mitigating fixation in human-AI creative collaboration. Unlike fine-tuning methods that expand a model's knowledge base, unlearning removes specific concepts to create productive gaps in the model's representational space. Responding to findings that semantic constraints on prompt composition alleviate fixation, we apply this method in our pilot study presenting a modified large language model in which the concept of 'the chair' has been strategically removed. We find that interacting with this model forces users to re-articulate design problems in novel ways, preventing convergence on familiar directions during ideation.

Artificial Intelligence is increasingly embedded in creative and spatial design processes, transforming how ideas are visualized and interpreted. This study examines how generative AI tools influence children’s imagination and articulation of spatial design preferences for schools in India. In a context where school environments are often standardized and children’s perspectives remain marginalized, participatory workshops with primary-school students engaged them in describing, writing, and generating AI-assisted images to express their visions for school spaces. The process revealed both the potential and the limits of AI-driven visualization. While AI expanded imagination and made ideas instantly visible, it also reproduced globalized aesthetics detached from local cultural realities. Children’s reflections revealed awareness of context, identity, and authorship, showing how algorithms mediate creativity and the cultural imagination of space. The study positions generative visualization as both a catalyst and a constraint in participatory spatial design, calling for critical engagement with biases embedded in algorithmic processes.

This paper examines how the aesthetics of design is being redefined by the embodiment of intelligent and interactive technologies within the framework of cognitive semiotics. Interpretation—understood as semiosis—is conceived as the fundamental process of meaning-making, through which user and artifact dynamically co-produce sense. Two modes of semiosis are distinguished: motor interpretation, grounded in the embodied incorporation of objects as extensions of the body, and cognitive interpretation, based on inferential and cooperative meaning construction. In traditional design, aesthetics either supports functional embodiment or serves decorative representation. In AI-equipped artifacts, however, function becomes distal, executed at a cognitive distance. Consequently, affordance shifts from enabling physical use to enabling cognitive interpretation, producing a new aesthetic condition based on the user’s interpretive participation. Drawing on Umberto Eco’s theory of interpretive cooperation, the paper argues that design aesthetics is being redefined as a process of cognitive cooperation between artifact and interpreter.

As interaction design increasingly bridges the digital and physical realms, exemplified by tangible and embodied interaction, a clear understanding of "physicality" is critical. However, the concept remains ambiguous within the interaction between humans and artifacts, lacking a systematic understanding to guide research and practice. This research applies Rodgers' evolutionary concept analysis, guided by three etymological meanings of "physical", to conduct a hybrid thematic analysis of literature from interaction, ergonomics, and design. The findings suggest that physicality is understood through a structured framework of five core attributes: material substantiality, perceptibility, two-way interaction, embodied correlation, and affordance. This preliminary framework elucidates the specific attributes and interrelations of physicality within human–artifact interaction. It illustrates how physicality is expressed in the human–artifact relationship and provides a foundational concept, serving as a structured fulcrum for its exploration and application in interaction design.

This paper reframes computation as a design practice rather than a technological application. Through the construction of mechanical computing artifacts that harness environmental energy and material constraints, it demonstrates how designing can become a form of computational inquiry. The work positions architecture as a discipline capable of foundational contributions to computation by treating material, geometry, and energy as active agents of logic and memory. The study advances two main contributions: 1) It reconceptualizes computation as a physical and architectural phenomenon rather than a symbolic or digital one. 2) It demonstrates, through a pedagogical experiment, that computation can be enacted and understood through material and tectonic design, making it a foundational mode of architectural reasoning.