• 16-20 OCTOBER, 2023 
  • 16-20 OCTOBER, 2023 

Site do evento

Comissão organizadora

  • Leon Cruickshank, Lancaster University, UK
  • Priscila Farias, University of Sao Paulo (Brazil, São Paulo Hub)
  • Sara Goldchmit, University of Sao Paulo (Brazil, São Paulo Hub)
  • Sarah Kettley, Edinburgh College of Art, The University of Edinburgh (UK, Glasgow Hub)
  • Helen McCormack, The Glasgow School of Art (UK, Glasgow Hub)
  • Michel Nader Sayún, Aalto University, (Finland, Espoo Hub)
  • Lucia Rampino, Politecnico di Milano (Italy, Espoo Hub)
  • Aiur Retegi, University of Deusto (Spain, Bilbao Hub)
  • Juan Sádaba, University of the Basque Country (Spain, Bilbao Hub)
  • Louise Valentine, Heriot-Watt University Dubai Campus, UAE
  • Neena Zutshi, World University of Design (India, Sonipat Hub)

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Outubro 2023 vol. 11 num. 4

Idioma principal | Segundo idioma

15th International Conference of the European Academy of Design

15th International Conference of the European Academy of Design

Bilbao Hub - The Discipline of Design – transdisciplinary practices

Bilbao Hub - The Discipline of Design – transdisciplinary practices

São Paulo Hub - Living in the Pluriverse: inclusion and diversity in design research and education

São Paulo Hub - Living in the Pluriverse: inclusion and diversity in design research and education

Sonipat Hub - Beyond Human-Centred Design Research

Sonipat Hub - Beyond Human-Centred Design Research

Espoo Hub - Exploring the Social Impact of Design Research

Espoo Hub - Exploring the Social Impact of Design Research

Glasgow Hub - Extreme Making

Glasgow Hub - Extreme Making

INTRODUCTION
In the 25 years since its first international conference on doctoral education in Ohio, USA (Buchanan et al., 1998), the discipline of design research continues to emerge and mature. The 15th International Conference of the European Academy of Design (EAD) has taken this milestone as inspiration to focus on Doctoral Education in Design and the next 25 years. EAD 2023 reflects how we lead with imagination and inclusivity in our practices, policies, methods, systems, and values. The intention is to expose how agencies, communities, organisations, institutions, and societies have adapted, collaborated, and grown and where there is still work to be done. What has become clear is that more than the established research practices, methods, and interventions that brought us to this point will be needed to meet future demands. Accepting the responsibilities of creative leadership and responding to contemporary issues and an environment in crisis, we must continue to collaborate and boldly explore new directions. 
 
The scale and nature of problems that designers deal with today are often larger and more complex than in previous eras. We only need to look at the nature of conference papers from prior EAD conferences to see that most submissions and work were sole-authored a decade ago. Today, it is commonplace to have multiple-authored work from both inside and outside academia and to have people from different disciplines writing together. With this change, the Academy leadership intentionally reached out to connect in different ways with colleagues across the world to design and deliver the fifteenth international conference. We know that continents, countries, and higher education institutions are progressing at different rates around doctoral education in design. They are establishing their own distinctive approaches informed by their culture, values, and political environment. Part of our aim for EAD2023 is inviting the global design research community to continue to collaborate with us to re-imagine our biennial conference and reconsider how knowledge could be exchanged worldwide in a sustainable manner, and a quest for the most exciting, effecting, significant ideas to share.  
 
The fifteenth international conference of the European Academy of Design marks a transition and transformation that began in earnest in 2019 during the conference held in Dundee, Scotland, where we asked the community if we should continue: Is there sufficient relevance, value, and impact? The response was a resounding yes! Building on this enthusiasm and drawing on our creative leadership in design research and its communication, we instigated radical, COVID-informed changes for the Safe Harbours Conference of 2021. While many events moved online, we tested an opportunity to extend the EAD conference to 5 days and shorten the daily commitment to 2 hours. This made for a more flexible, pleasurable online experience, further enhanced by providing visual abstracts before presentations to help set the context. In 2023, we see a further step in innovation. After town hall meetings and wide consultation, the EAD leadership is determined to retain the financial accessibility and sustainability of Safe Harbours while re-introducing a much-needed physical component.  We have a conference lasting five full days with hubs across four time zones where researchers' need to fly to attend is hugely reduced. We are also pushing the boundaries of financial accessibility; the five days of the conference (one day in person and four days online) were available for as little as £35.
 
Of course, we are not just interested in platforms for knowledge sharing and cultural collaboration; we are equally excited about the subject of the conference. The conference explores doctoral design research and its education ecosystem over five themes celebrated in a week-long academic festival hosted by five higher education institutions: The Discipline of Design – transdisciplinary practices (Bilbao, Spain), Living in the Pluriverse (São Paulo, Brazil), Beyond Human-Centred Design Research (Sonipat, India), Exploring the Social Impact of Design Research (Espoo, Finland), and Extreme Making (Glasgow, Scotland). This resulted from a call to investigate how design research influences the design sector and other industries it serves, why change is needed, and how we might evolve the cadence. What has been achieved by design research in the past 25 years, and what needs to change? Why is evidence-based design needed, and what impacts has it had? The career trajectory of a successful Ph.D. candidate and how learning is being applied (inside and outside of higher education). 

Our deep thanks for your commitment to excellence and progress. Our very best to everyone for an inspiring and intelligence raising moment; we hope you enjoy it.
 
Professor Louise Valentine, Heriot-Watt University, Dubai Campus, UAE
Professor Leon Cruickshank, Imagination Lancaster, Lancaster University, UK

 
EDITORIAL

The call for papers attracted 178 submissions, coming from 22 countries, all of them double blind peer reviewed, resulting in 136 works accepted for presentation: 80 full papers, 3 short papers, 7 position papers, 19 posters, 1 digital film and 26 exhibition submissions.

The Discipline of Design – transdisciplinary practices (Bilbao, Spain)
Doctoral Research and Education aim to build the foundations for a specifically focused and solid academic career in Research. Through this third stage of higher education, scholars understand the methodologies for deeper knowledge over a concrete area of their investigation. However, despite the ‘Sciences of the Artificial,’ Design and Architecture blend a technological side with a traditional one belonging to the world of art and humanities. This double-faced personality opens a broader scope for possibilities in addressing the world of research and, therefore, multiple approaches to Doctoral Research and Education.

Interdisciplinary collaboration among different areas of knowledge in the same global design discipline, like Design and Architecture on a common project, or a multidisciplinary design approach to problems from joint disciplines like Anthropology and Architecture are positive steps towards a better framing of problem tackling. However, Transdisciplinary ways of working call for a ‘fusion of disciplines’ – a way of working in which designers have ‘transgressed’ or ‘transcended’ their disciplinary norms and have adapted ways of working from other disciplines. Designers capable of working in a transdisciplinary mode can work in cross-disciplinary teams and lead them.

The Bilbao Hub of the EAD 2023 conference, hosted by The University of the Basque Country in partnership with the University of Deusto, aimed to work as a catalyst for Doctoral Research and Education in southern Europe by gathering and putting together the exploding variety of methods and visions emerging in recent years and extracting and analyzing common and divergent visions. 

In today's rapidly changing world with complex challenges like sustainability and pandemics, our view of the environment has evolved into an interconnected system. Traditional design practices are inadequate for these challenges as they require a holistic understanding of how different elements interact. We have gradually assumed that the environment we inhabit is an intricate system, an organized set of elements or parts that affect each other and are interdependent and relate to each other to form a unified and complex whole (Von Bertalanffy, 1968). As Hegel argued, the whole is more than the sum of the parts: the environment establishes the identity of the parts, and the parts cannot be understood in isolation because they are dynamically interrelated. Thus, technological, social, economic, or environmental factors generate an interrelated complexity, inside which, any change in one of them affects the others.

Transdisciplinary design practices integrate tools, techniques, and methods from different disciplines (Ertas et al. 2003). This approach emphasizes collaboration between different fields and encourages designers to adopt diverse perspectives.

"The Discipline of Design - Transdisciplinary Practices," research papers explore the challenges and benefits of transdisciplinarity in design, falling into four main categories:

  1. Specific Field Transdisciplinarity: These articles delve into transdisciplinary approaches within specific design fields, highlighting the need for new methods that transcend disciplinary boundaries.
  2. Social Transformation through Transdisciplinarity: Papers in this group explore how transdisciplinary design can drive social change, often focusing on human-centered design perspectives like human rights or health.
  3. Transdisciplinarity in Design Education: This category addresses integrating transdisciplinarity into design education, emphasizing creativity and social innovation.
  4. Foundations of Design and Methodological Considerations: Some papers reflect on design's foundations and methodologies, particularly in uncertain contexts.

In essence, the discipline of design is evolving to tackle today's complex global challenges by embracing transdisciplinary practices. All in all we have included 29 research papers and posters sent from countries in Europe (France, Romania, UK, Spain, Netherlands and Italy) but also from further lands like USA, Australia, Brazil or China. These contributions in Track 1 offer valuable insights into this shift, exploring innovative methodologies and frameworks to address complex problems effectively. Design, as it adapts and innovates, plays a pivotal role in shaping our responses to the dynamic and diverse challenges of our time.

Bilbao Hub keynote Speakers: 
Guy Julier, Aalto University, Finland
Eduardo Arroyo, Technical School of Architecture of Madrid (ETSAM), Spain


Living in the Pluriverse: inclusion and diversity in design research and education (São Paulo, Brazil)
Design practice, research, and education in Latin America evolved through the trenches shaped by the uncertain socio-technical contexts of middle-income countries, in a process highly influenced by European and US development standards. Two decades after the creation of the first PhD programs in design in Brazil and Latin America, despite the de-industrialization process opposite to the industrialization landscape that first established the need for design in the middle of the 20th century, design emerged as an essential field able to frame multiple aspects of human experience. 

Yet not widely recognized, especially within governmental and public sectors, design is a discipline capable of producing knowledge, imagining, and shaping better futures. The work of pioneers like Darcy Ribeiro and Gui Bonsiepe pinpoints the emancipatory role of higher education and the challenges of ‘development through design’ in Latin America, stressing the center-periphery relation. Bonsiepe also addressed the tense relationships between design science, professional practice, and academia. More recently, the ontological design approach to the pluriverse proposed by Arturo Escobar brings to light the need for autonomy and inclusion in ‘a world where many worlds fit’. 

Hosted by the University of São Paulo (USP) in partnership with São Paulo State University (UNESP) and Anhembi Morumbi University (UAM), this hub focused on the challenges, achievements, and threats faced by design research and education beyond Europe and the US. The hub program involved two keynote speakers, two roundtable discussions on ‘PhD in Design in Latin America’ and ‘Inclusion and Diversity in Design Research’, featuring guest speakers from Argentina, Brazil, Colombia, Cuba and Mexico; parallel sessions with speakers from Latin America, Asia and Europe, and a poster session where short papers from Brazil and UK were presented.

The São Paulo hub accepted contributions from 7 countries, including Latin American, European and Asian authors. The design research community's response to the call reveals the growing interest in pluriversal histories and approaches to design. This emerging concern critically traces past colonial influences to offer pluriversal perspectives for contemporary topics related not only to design research and education itself, but also to the most critical issues of sustainability, democracy, and the technological shift to artificial intelligence, acknowledging that What Got Us Here, Won't Get Us There. 

São Paulo hub keynote speakers:
Renata Marques Leitão, Cornell University, US
Marizilda Menezes,  São Paulo State University (UNESP), Brazil


Beyond Human-Centred Design: an enquiry into the future of participant interaction (Sonipat, India)
The integration of the participant in the design of a tangible and intangible artefact is interpreted as the design of the interaction between humans with their environment. This theme engages with the trajectory of HCD to explore frontiers and boundaries and construct an integrated whole where the system and its “human” work together to create a holistic environment. The recent technological developments, such as AI or VR and AR, and their consequent impact on human-environment interaction is the key focus of this conference hub.

Human Centred Design enhances effectiveness and efficiency, improves human well-being, user satisfaction, accessibility, and sustainability, and counteracts possible adverse effects of use on human health, safety, and performance. To design an interactive system, an understanding and specification of the context of use are critical, along with the user’s requirements. Design solutions generated for both products & services, for individuals and community, need to be evaluated for efficiency and effectiveness. However, the processes and evidence adopted must be critically reviewed and enriched. Though the role of humans in the design process is intrinsic in traditional knowledge systems, today, this is interpreted as an explicit understanding of users, tasks, and environments where end-users are involved throughout design and development. The response of design as a postcolonial construct is to mediate binaries and provide a space for peripheral groups to express their identities. As an iterative process, design is driven and refined by feedback loops such as human-centred evaluation. The design team includes multi-disciplinary skills and perspectives and addresses the full spectrum of human experience and beyond, such as technologies or non-human actors.

The design ethos engages with the community as a social construct that reacts to design as a collective entity which is more than a sum of its parts. Cultural contexts are manifested to preserve, revive, protect, and generate intangibles that have a bearing on the designed product. Exploring and proposing paradigms that aid in innovation and amalgamation of technology and design, resulting in solutions that bridge the chasm between physicality and the virtual realm in ways that are radical in their implementation and implications. Design thinking as a discipline integrated into ancillary domains is the hallmark of the professional ecosystem leading to ethical, sustainable development. As a response to ecological disruptions envisaged in Sustainable Development Goals, human-centred design hopes to mediate humanity and the earth. Those were the main topics discussed in this hub, hosted by the World University of Design in partnership with the RIMT University.

The Sonipat, India hub is located outside Europe which brings a culturally diverse theme to the conference. Papers have been received from Mexico, Holland, Taiwan, Edinburgh and Paris internationally as well as from significant universities in India like the Indian Institute of Technology and National Institute of Fashion Technology. The author's interpretation of beyond human centred design integrates contextual perspectives. The amalgamation of craft, shift of focus from humans to life and the representation of communities responds to the hub's call for exploring future concerns in the field of design. In India, this conference is poised at the cusp of a rapidly expanding ecosystem of doctoral research in design and will facilitate a global exposure to the local research community. 

Sonipat hub keynote speakers:
Sudipto Mukherje, Indian Institute of Technology, Delhi, India
Jay Dhariwa, Indian Institute of Technology, Delhi, India
Mukul Goyal, Designwise India Pvt. Ltd. Tattva Art Hardware and Studio Mukul Goyali, India


Exploring the Social Impact of Design Research (Espoo, Finland)
Doctoral education in design is gaining strength worldwide with an increasing population of graduates, programmes, and research outputs. Nonetheless, design itself is changing; contemporary sustainability challenges and social values transform how design research impacts the world outside of academia. This track aims to explore and understand the social impact of design research beyond academia.

Social impact can be understood as “intended and unintended social consequences, both positive and negative, of planned interventions (policies, programs, plans, projects) and any social change processes invoked by those interventions.” (Vanclay, 2003). Social impact is “the changes that happen to people, the community, and the environment” (Parrett, 2019). Social impact includes social, economic, environmental, and wider community changes, which can be positive, negative, intended, or unintended. (Design Council, 2020). 

Design doctoral research and education are increasingly tackling bigger societal problems in the public and private sectors and within other organisations capable of social innovation, such as NGOs, think tanks, research institutes, social enterprises, citizen action, and community organisations. It is a concern to understand the social impacts of design research in today’s world and evaluate the implications of applying it in diverse contexts. The design community lacks clarity on resources, processes, and activities to support and situate doctoral design activity that demonstrably addresses stakeholder needs. Furthermore, the value of design research is not often understood by organisations that could benefit from it. 

This hub, hosted by Aalto University (Finland) in partnership with Politecnico di Milano (Italy), Delft University of Technology (Netherlands), Imperial College London (UK), Illinois Institute of Technology (USA), and Carnegie Mellon University (USA),  was organised by DocS4Design, a three-year Erasmus+ project involving partners from Europe, the UK, and North America, to map out the diversity of doctoral education practices in design schools and continue the discussion on the development of 21st-century doctoral education in the field of design. This reflection can support better-suited doctoral programmes and more focused design interventions in the future.

The call for papers to Exploring Social Impact of Design Research sparked interest from researchers who are committed to impactful research outside of academia. The accepted papers come from 9 different countries and demonstrate how strategic discussions regarding the role of PhD level research happen similarly all around the world. It is more relevant than ever before to be able to demonstrate the impact of designers, and the vocabulary used in design, in the world outside of academia; all of the accepted submissions clearly frame their work in the context of complex systemic problems. Furthermore,  submissions to this call often focused on third sector projects, where design researchers appear to be increasingly present.

Espoo hub keynote Speakers:
Harri Paananen, City of Espoo, Finland
Lucy Kimbell,  University of the Arts London, IK
Sampsa Hyysalo, Aalto University, Finland


Extreme Making (Glasgow, Scotland)
This conference hub, hosted by the Glasgow School of Art in partnership with the University of Edinburgh, explored the present and future possibilities of doctoral research and education in design through creative practice research, located in making and materials, critical theory and history, and by identifying ways in which new knowledge emerges in studio-based inquiry. The term ‘extreme making’ was used to suggest the breadth of practices in design, from established craft skills and techniques to smart technologies and materials, artificial intelligence, virtual reality, and systems design. As new technologies generate new forms of practice, a related expansion of methods associated with design research and intrinsic to doctoral research became recognizable. 

This ‘methodological pluralism’ (Borgdoff, 2019) presents the field with exciting possibilities. At the same time, critical themes in doctoral design research and education have intensified over the past twenty-five years to encompass climate injustice, identity politics, sustainable, cyclical, slow-growth economics, and human and more-than-human relationships. Parallel to that, new articulations of worldviews, such as New Materialism, combined with practice research, had an impact on the normative forms of doctoral submission, examination, and claims to contribution to knowledge. If, as Rosie Braidotti has surmised, we are facing a whole ‘new paradigm’ in critical theory, we want to discover how doctoral research and education might best use theoretical knowledge attached to design histories, particularly in critical and speculative design. Conversely, in what ways are doctoral candidates in design framing futuring and world-making as research? These themes are vital to the practice and quality of doctoral research in design yet pose a particular set of challenges and opportunities for supervisors and candidates. Therefore, the hub promoted an exploration of the lively and diverse possibilities of doctoral research and education in design.

Papers received in response to the Glasgow hub call on the theme of ‘Extreme Making: Expansive Methods and Critical Themes in Design Doctoral Research and Education’ demonstrated an enthusiastic and positive approach to the provocation posed by the title. These papers cover a range of topics and subjects related to ideas behind ‘making in the extreme’, including slow design, cross-cultural, and inter-cultural identities, collaborative, participatory, and co-design approaches. An emphasis on artificial intelligence and augmented reality in emerging fields of digital crafts, expressed in the conference hub submissions, is complemented by sensitivities around emotional design as this relates to inter-species relationships, and more-than-human encounters. Expressed as forms of experimental or expansive methods, many of the contributors to our hub addressed the challenges posed by doctoral research now and in the future, where ecological concerns place sustainability and climate crisis at the forefront of design methodologies. Therefore, with such framing of future world-making in mind, we encouraged participants and speakers to speculate on the shape of doctoral study from the perspective of the design studio and beyond. 

Glasgow hub keynote speakers:
Rathna Ramanathan, Central St. Martins, University of the Arts, London, Uk
Stephen Knott, Director, Crafts Study Centre, University for the Creative Arts, UK


References
Buchanan, R., Doordan, D.P., Justice, L. and Margolin, V. (eds.) (1998) “Proceedings of the 1st Conference on Doctoral Education in Design” (1998), 8-11 October, Columbus, Ohio, USA, Carnegie Mellon University School of Design. Available at: https//dl.designresearchsociety.org/conference-volumes/49
Ertas A., Maxwell T., Rainey V. P., and Tanik M. M. (2003). “Transformation of higher education: the transdisciplinary approach in engineering,” IEEE Transactions on Education, pp. 289–295.
Hunt, J. (2012) Letter from the editor. Journal of Design Strategies, 5 (1), pp. 5-10.
Bertalanffy, L. V. (1968). General system theory: Foundations, development, applications. G. Braziller.

___
EAD2023 was supported by:
CAPES - Coordination of Higher Level Staff Improvement, Brazil
FAPESP - São Paulo Research Foundation, Brazil
Itaú - Banco Itaú Unibanco S.A., Brazil
Panther Milk, Glasgow, UK

INTRODUCTION
In the 25 years since its first international conference on doctoral education in Ohio, USA (Buchanan et al., 1998), the discipline of design research continues to emerge and mature. The 15th International Conference of the European Academy of Design (EAD) has taken this milestone as inspiration to focus on Doctoral Education in Design and the next 25 years. EAD 2023 reflects how we lead with imagination and inclusivity in our practices, policies, methods, systems, and values. The intention is to expose how agencies, communities, organisations, institutions, and societies have adapted, collaborated, and grown and where there is still work to be done. What has become clear is that more than the established research practices, methods, and interventions that brought us to this point will be needed to meet future demands. Accepting the responsibilities of creative leadership and responding to contemporary issues and an environment in crisis, we must continue to collaborate and boldly explore new directions. 
 
The scale and nature of problems that designers deal with today are often larger and more complex than in previous eras. We only need to look at the nature of conference papers from prior EAD conferences to see that most submissions and work were sole-authored a decade ago. Today, it is commonplace to have multiple-authored work from both inside and outside academia and to have people from different disciplines writing together. With this change, the Academy leadership intentionally reached out to connect in different ways with colleagues across the world to design and deliver the fifteenth international conference. We know that continents, countries, and higher education institutions are progressing at different rates around doctoral education in design. They are establishing their own distinctive approaches informed by their culture, values, and political environment. Part of our aim for EAD2023 is inviting the global design research community to continue to collaborate with us to re-imagine our biennial conference and reconsider how knowledge could be exchanged worldwide in a sustainable manner, and a quest for the most exciting, effecting, significant ideas to share.  
 
The fifteenth international conference of the European Academy of Design marks a transition and transformation that began in earnest in 2019 during the conference held in Dundee, Scotland, where we asked the community if we should continue: Is there sufficient relevance, value, and impact? The response was a resounding yes! Building on this enthusiasm and drawing on our creative leadership in design research and its communication, we instigated radical, COVID-informed changes for the Safe Harbours Conference of 2021. While many events moved online, we tested an opportunity to extend the EAD conference to 5 days and shorten the daily commitment to 2 hours. This made for a more flexible, pleasurable online experience, further enhanced by providing visual abstracts before presentations to help set the context. In 2023, we see a further step in innovation. After town hall meetings and wide consultation, the EAD leadership is determined to retain the financial accessibility and sustainability of Safe Harbours while re-introducing a much-needed physical component.  We have a conference lasting five full days with hubs across four time zones where researchers' need to fly to attend is hugely reduced. We are also pushing the boundaries of financial accessibility; the five days of the conference (one day in person and four days online) were available for as little as £35.
 
Of course, we are not just interested in platforms for knowledge sharing and cultural collaboration; we are equally excited about the subject of the conference. The conference explores doctoral design research and its education ecosystem over five themes celebrated in a week-long academic festival hosted by five higher education institutions: The Discipline of Design – transdisciplinary practices (Bilbao, Spain), Living in the Pluriverse (São Paulo, Brazil), Beyond Human-Centred Design Research (Sonipat, India), Exploring the Social Impact of Design Research (Espoo, Finland), and Extreme Making (Glasgow, Scotland). This resulted from a call to investigate how design research influences the design sector and other industries it serves, why change is needed, and how we might evolve the cadence. What has been achieved by design research in the past 25 years, and what needs to change? Why is evidence-based design needed, and what impacts has it had? The career trajectory of a successful Ph.D. candidate and how learning is being applied (inside and outside of higher education). 

Our deep thanks for your commitment to excellence and progress. Our very best to everyone for an inspiring and intelligence raising moment; we hope you enjoy it.
 
Professor Louise Valentine, Heriot-Watt University, Dubai Campus, UAE
Professor Leon Cruickshank, Imagination Lancaster, Lancaster University, UK

 
EDITORIAL

The call for papers attracted 178 submissions, coming from 22 countries, all of them double blind peer reviewed, resulting in 136 works accepted for presentation: 80 full papers, 3 short papers, 7 position papers, 19 posters, 1 digital film and 26 exhibition submissions.

The Discipline of Design – transdisciplinary practices (Bilbao, Spain)
Doctoral Research and Education aim to build the foundations for a specifically focused and solid academic career in Research. Through this third stage of higher education, scholars understand the methodologies for deeper knowledge over a concrete area of their investigation. However, despite the ‘Sciences of the Artificial,’ Design and Architecture blend a technological side with a traditional one belonging to the world of art and humanities. This double-faced personality opens a broader scope for possibilities in addressing the world of research and, therefore, multiple approaches to Doctoral Research and Education.

Interdisciplinary collaboration among different areas of knowledge in the same global design discipline, like Design and Architecture on a common project, or a multidisciplinary design approach to problems from joint disciplines like Anthropology and Architecture are positive steps towards a better framing of problem tackling. However, Transdisciplinary ways of working call for a ‘fusion of disciplines’ – a way of working in which designers have ‘transgressed’ or ‘transcended’ their disciplinary norms and have adapted ways of working from other disciplines. Designers capable of working in a transdisciplinary mode can work in cross-disciplinary teams and lead them.

The Bilbao Hub of the EAD 2023 conference, hosted by The University of the Basque Country in partnership with the University of Deusto, aimed to work as a catalyst for Doctoral Research and Education in southern Europe by gathering and putting together the exploding variety of methods and visions emerging in recent years and extracting and analyzing common and divergent visions. 

In today's rapidly changing world with complex challenges like sustainability and pandemics, our view of the environment has evolved into an interconnected system. Traditional design practices are inadequate for these challenges as they require a holistic understanding of how different elements interact. We have gradually assumed that the environment we inhabit is an intricate system, an organized set of elements or parts that affect each other and are interdependent and relate to each other to form a unified and complex whole (Von Bertalanffy, 1968). As Hegel argued, the whole is more than the sum of the parts: the environment establishes the identity of the parts, and the parts cannot be understood in isolation because they are dynamically interrelated. Thus, technological, social, economic, or environmental factors generate an interrelated complexity, inside which, any change in one of them affects the others.

Transdisciplinary design practices integrate tools, techniques, and methods from different disciplines (Ertas et al. 2003). This approach emphasizes collaboration between different fields and encourages designers to adopt diverse perspectives.

"The Discipline of Design - Transdisciplinary Practices," research papers explore the challenges and benefits of transdisciplinarity in design, falling into four main categories:

  1. Specific Field Transdisciplinarity: These articles delve into transdisciplinary approaches within specific design fields, highlighting the need for new methods that transcend disciplinary boundaries.
  2. Social Transformation through Transdisciplinarity: Papers in this group explore how transdisciplinary design can drive social change, often focusing on human-centered design perspectives like human rights or health.
  3. Transdisciplinarity in Design Education: This category addresses integrating transdisciplinarity into design education, emphasizing creativity and social innovation.
  4. Foundations of Design and Methodological Considerations: Some papers reflect on design's foundations and methodologies, particularly in uncertain contexts.

In essence, the discipline of design is evolving to tackle today's complex global challenges by embracing transdisciplinary practices. All in all we have included 29 research papers and posters sent from countries in Europe (France, Romania, UK, Spain, Netherlands and Italy) but also from further lands like USA, Australia, Brazil or China. These contributions in Track 1 offer valuable insights into this shift, exploring innovative methodologies and frameworks to address complex problems effectively. Design, as it adapts and innovates, plays a pivotal role in shaping our responses to the dynamic and diverse challenges of our time.

Bilbao Hub keynote Speakers: 
Guy Julier, Aalto University, Finland
Eduardo Arroyo, Technical School of Architecture of Madrid (ETSAM), Spain


Living in the Pluriverse: inclusion and diversity in design research and education (São Paulo, Brazil)
Design practice, research, and education in Latin America evolved through the trenches shaped by the uncertain socio-technical contexts of middle-income countries, in a process highly influenced by European and US development standards. Two decades after the creation of the first PhD programs in design in Brazil and Latin America, despite the de-industrialization process opposite to the industrialization landscape that first established the need for design in the middle of the 20th century, design emerged as an essential field able to frame multiple aspects of human experience. 

Yet not widely recognized, especially within governmental and public sectors, design is a discipline capable of producing knowledge, imagining, and shaping better futures. The work of pioneers like Darcy Ribeiro and Gui Bonsiepe pinpoints the emancipatory role of higher education and the challenges of ‘development through design’ in Latin America, stressing the center-periphery relation. Bonsiepe also addressed the tense relationships between design science, professional practice, and academia. More recently, the ontological design approach to the pluriverse proposed by Arturo Escobar brings to light the need for autonomy and inclusion in ‘a world where many worlds fit’. 

Hosted by the University of São Paulo (USP) in partnership with São Paulo State University (UNESP) and Anhembi Morumbi University (UAM), this hub focused on the challenges, achievements, and threats faced by design research and education beyond Europe and the US. The hub program involved two keynote speakers, two roundtable discussions on ‘PhD in Design in Latin America’ and ‘Inclusion and Diversity in Design Research’, featuring guest speakers from Argentina, Brazil, Colombia, Cuba and Mexico; parallel sessions with speakers from Latin America, Asia and Europe, and a poster session where short papers from Brazil and UK were presented.

The São Paulo hub accepted contributions from 7 countries, including Latin American, European and Asian authors. The design research community's response to the call reveals the growing interest in pluriversal histories and approaches to design. This emerging concern critically traces past colonial influences to offer pluriversal perspectives for contemporary topics related not only to design research and education itself, but also to the most critical issues of sustainability, democracy, and the technological shift to artificial intelligence, acknowledging that What Got Us Here, Won't Get Us There. 

São Paulo hub keynote speakers:
Renata Marques Leitão, Cornell University, US
Marizilda Menezes,  São Paulo State University (UNESP), Brazil


Beyond Human-Centred Design: an enquiry into the future of participant interaction (Sonipat, India)
The integration of the participant in the design of a tangible and intangible artefact is interpreted as the design of the interaction between humans with their environment. This theme engages with the trajectory of HCD to explore frontiers and boundaries and construct an integrated whole where the system and its “human” work together to create a holistic environment. The recent technological developments, such as AI or VR and AR, and their consequent impact on human-environment interaction is the key focus of this conference hub.

Human Centred Design enhances effectiveness and efficiency, improves human well-being, user satisfaction, accessibility, and sustainability, and counteracts possible adverse effects of use on human health, safety, and performance. To design an interactive system, an understanding and specification of the context of use are critical, along with the user’s requirements. Design solutions generated for both products & services, for individuals and community, need to be evaluated for efficiency and effectiveness. However, the processes and evidence adopted must be critically reviewed and enriched. Though the role of humans in the design process is intrinsic in traditional knowledge systems, today, this is interpreted as an explicit understanding of users, tasks, and environments where end-users are involved throughout design and development. The response of design as a postcolonial construct is to mediate binaries and provide a space for peripheral groups to express their identities. As an iterative process, design is driven and refined by feedback loops such as human-centred evaluation. The design team includes multi-disciplinary skills and perspectives and addresses the full spectrum of human experience and beyond, such as technologies or non-human actors.

The design ethos engages with the community as a social construct that reacts to design as a collective entity which is more than a sum of its parts. Cultural contexts are manifested to preserve, revive, protect, and generate intangibles that have a bearing on the designed product. Exploring and proposing paradigms that aid in innovation and amalgamation of technology and design, resulting in solutions that bridge the chasm between physicality and the virtual realm in ways that are radical in their implementation and implications. Design thinking as a discipline integrated into ancillary domains is the hallmark of the professional ecosystem leading to ethical, sustainable development. As a response to ecological disruptions envisaged in Sustainable Development Goals, human-centred design hopes to mediate humanity and the earth. Those were the main topics discussed in this hub, hosted by the World University of Design in partnership with the RIMT University.

The Sonipat, India hub is located outside Europe which brings a culturally diverse theme to the conference. Papers have been received from Mexico, Holland, Taiwan, Edinburgh and Paris internationally as well as from significant universities in India like the Indian Institute of Technology and National Institute of Fashion Technology. The author's interpretation of beyond human centred design integrates contextual perspectives. The amalgamation of craft, shift of focus from humans to life and the representation of communities responds to the hub's call for exploring future concerns in the field of design. In India, this conference is poised at the cusp of a rapidly expanding ecosystem of doctoral research in design and will facilitate a global exposure to the local research community. 

Sonipat hub keynote speakers:
Sudipto Mukherje, Indian Institute of Technology, Delhi, India
Jay Dhariwa, Indian Institute of Technology, Delhi, India
Mukul Goyal, Designwise India Pvt. Ltd. Tattva Art Hardware and Studio Mukul Goyali, India


Exploring the Social Impact of Design Research (Espoo, Finland)
Doctoral education in design is gaining strength worldwide with an increasing population of graduates, programmes, and research outputs. Nonetheless, design itself is changing; contemporary sustainability challenges and social values transform how design research impacts the world outside of academia. This track aims to explore and understand the social impact of design research beyond academia.

Social impact can be understood as “intended and unintended social consequences, both positive and negative, of planned interventions (policies, programs, plans, projects) and any social change processes invoked by those interventions.” (Vanclay, 2003). Social impact is “the changes that happen to people, the community, and the environment” (Parrett, 2019). Social impact includes social, economic, environmental, and wider community changes, which can be positive, negative, intended, or unintended. (Design Council, 2020). 

Design doctoral research and education are increasingly tackling bigger societal problems in the public and private sectors and within other organisations capable of social innovation, such as NGOs, think tanks, research institutes, social enterprises, citizen action, and community organisations. It is a concern to understand the social impacts of design research in today’s world and evaluate the implications of applying it in diverse contexts. The design community lacks clarity on resources, processes, and activities to support and situate doctoral design activity that demonstrably addresses stakeholder needs. Furthermore, the value of design research is not often understood by organisations that could benefit from it. 

This hub, hosted by Aalto University (Finland) in partnership with Politecnico di Milano (Italy), Delft University of Technology (Netherlands), Imperial College London (UK), Illinois Institute of Technology (USA), and Carnegie Mellon University (USA),  was organised by DocS4Design, a three-year Erasmus+ project involving partners from Europe, the UK, and North America, to map out the diversity of doctoral education practices in design schools and continue the discussion on the development of 21st-century doctoral education in the field of design. This reflection can support better-suited doctoral programmes and more focused design interventions in the future.

The call for papers to Exploring Social Impact of Design Research sparked interest from researchers who are committed to impactful research outside of academia. The accepted papers come from 9 different countries and demonstrate how strategic discussions regarding the role of PhD level research happen similarly all around the world. It is more relevant than ever before to be able to demonstrate the impact of designers, and the vocabulary used in design, in the world outside of academia; all of the accepted submissions clearly frame their work in the context of complex systemic problems. Furthermore,  submissions to this call often focused on third sector projects, where design researchers appear to be increasingly present.

Espoo hub keynote Speakers:
Harri Paananen, City of Espoo, Finland
Lucy Kimbell,  University of the Arts London, IK
Sampsa Hyysalo, Aalto University, Finland


Extreme Making (Glasgow, Scotland)
This conference hub, hosted by the Glasgow School of Art in partnership with the University of Edinburgh, explored the present and future possibilities of doctoral research and education in design through creative practice research, located in making and materials, critical theory and history, and by identifying ways in which new knowledge emerges in studio-based inquiry. The term ‘extreme making’ was used to suggest the breadth of practices in design, from established craft skills and techniques to smart technologies and materials, artificial intelligence, virtual reality, and systems design. As new technologies generate new forms of practice, a related expansion of methods associated with design research and intrinsic to doctoral research became recognizable. 

This ‘methodological pluralism’ (Borgdoff, 2019) presents the field with exciting possibilities. At the same time, critical themes in doctoral design research and education have intensified over the past twenty-five years to encompass climate injustice, identity politics, sustainable, cyclical, slow-growth economics, and human and more-than-human relationships. Parallel to that, new articulations of worldviews, such as New Materialism, combined with practice research, had an impact on the normative forms of doctoral submission, examination, and claims to contribution to knowledge. If, as Rosie Braidotti has surmised, we are facing a whole ‘new paradigm’ in critical theory, we want to discover how doctoral research and education might best use theoretical knowledge attached to design histories, particularly in critical and speculative design. Conversely, in what ways are doctoral candidates in design framing futuring and world-making as research? These themes are vital to the practice and quality of doctoral research in design yet pose a particular set of challenges and opportunities for supervisors and candidates. Therefore, the hub promoted an exploration of the lively and diverse possibilities of doctoral research and education in design.

Papers received in response to the Glasgow hub call on the theme of ‘Extreme Making: Expansive Methods and Critical Themes in Design Doctoral Research and Education’ demonstrated an enthusiastic and positive approach to the provocation posed by the title. These papers cover a range of topics and subjects related to ideas behind ‘making in the extreme’, including slow design, cross-cultural, and inter-cultural identities, collaborative, participatory, and co-design approaches. An emphasis on artificial intelligence and augmented reality in emerging fields of digital crafts, expressed in the conference hub submissions, is complemented by sensitivities around emotional design as this relates to inter-species relationships, and more-than-human encounters. Expressed as forms of experimental or expansive methods, many of the contributors to our hub addressed the challenges posed by doctoral research now and in the future, where ecological concerns place sustainability and climate crisis at the forefront of design methodologies. Therefore, with such framing of future world-making in mind, we encouraged participants and speakers to speculate on the shape of doctoral study from the perspective of the design studio and beyond. 

Glasgow hub keynote speakers:
Rathna Ramanathan, Central St. Martins, University of the Arts, London, Uk
Stephen Knott, Director, Crafts Study Centre, University for the Creative Arts, UK


References
Buchanan, R., Doordan, D.P., Justice, L. and Margolin, V. (eds.) (1998) “Proceedings of the 1st Conference on Doctoral Education in Design” (1998), 8-11 October, Columbus, Ohio, USA, Carnegie Mellon University School of Design. Available at: https//dl.designresearchsociety.org/conference-volumes/49
Ertas A., Maxwell T., Rainey V. P., and Tanik M. M. (2003). “Transformation of higher education: the transdisciplinary approach in engineering,” IEEE Transactions on Education, pp. 289–295.
Hunt, J. (2012) Letter from the editor. Journal of Design Strategies, 5 (1), pp. 5-10.
Bertalanffy, L. V. (1968). General system theory: Foundations, development, applications. G. Braziller.

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EAD2023 was supported by:
CAPES - Coordination of Higher Level Staff Improvement, Brazil
FAPESP - São Paulo Research Foundation, Brazil
Itaú - Banco Itaú Unibanco S.A., Brazil
Panther Milk, Glasgow, UK

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The European Academy of Design (EAD) 
EAD President, Professor Louise Valentine, Heriot-Watt University Dubai (United Arab Emirates)
EAD Vice President, Professor Leon Cruickshank, Lancaster University (UK)
EAD Research Manager, Dr Joanna Bletcher, University of Dundee (UK)

EAD Executive Director, Dr Spyros Bofylatos, RCA London (UK)
EAD Executive Director, Dr Béatrice Gisgard, Unimes University (France)
EAD Executive Director, Dr David Perez, Imagination Lancaster (UK)
EAD Executive Director, Dr Marzia Mortati, Politecnico di Milano (Italy)

EAD2023 HUB CHAIRS
BILBAO Hub
The Discipline of Design – transdisciplinary practices
Juan Sádaba, University of the Basque Country (Spain)
Aiur Retegi, University of Deusto (Spain)
Ezequiel Collantes, Universidad del Pais Vasco (Spain)

SÃO PAULO Hub
Living in the Pluriverse: inclusion and diversity in design research and education
Priscila Farias, University of Sao Paulo (Brazil)
Sara Goldchmit, University of Sao Paulo (Brazil)

SONIPAT Hub
Beyond Human-Centred Design Research
Neena Zutshi, World University of Design (India)

ESPOO Hub
Exploring the Social Impact of Design Research
Michel Nader Sayún, Aalto University, (Finland)
Lucia Rampino, Politecnico di Milano (Italy)

GLASGOW Hub
Extreme Making 
Helen McCormack, The Glasgow School of Art (UK)
Sarah Kettley, Edinburgh College of Art, The University of Edinburgh (UK)

 
EAD 2023 LOCAL ORGANIZING COMMITTEES

THE EUROPEAN ACADEMY OF DESIGN (EAD) 
Louise Valentine, Heriot-Watt University Dubai
Leon Cruickshank, Lancaster University

BILBAO Hub
Juan Sádaba, University of the Basque Country
Aiur Retegi, University of Deusto
Ezequiel Collantes, Universidad del Pais Vasco

SÃO PAULO Hub
Tomás Barata, Universidade de São Paulo - USP
Sergio Tosi, São Paulo State University - UNESP
Sergio Nesteriuk, Anhembi Morumbi University - UAM
Mirtes Oliveira, Anhembi Morumbi University - UAM

SONIPAT Hub
Preeti Yadav, World University of Design
Parul Purohit Vats, World University of Design
Harsh Mehta,World University of Design
Abhishek Srivastava,World University of Design
Shakunpreet Kaur, World University of Design

ESPOO Hub
Michel Nader Sayún, Aalto University
Guy Julier, Aalto University
Sampsa Hyysalo, Aalto University

GLASGOW Hub
Jenny Brownrigg, The Glasgow School of Art
Stephen Bottomley, The Glasgow School of Art
Dave Loder, The Glasgow School of Art


EAD2023 PEER-REVIEWERS
Aitor Acilu, Universidad de Navarra (Spain)
Maria Alonso, University of Malaga (Spain)
Ylenia Alonso, UPV/EHU (Spain)
Javier Antón, Universidad de Navarra (Spain)
Mikel Azkona, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Nilanjana Bairagi, National Institute of Fashion Technology (India)
Anne Louise Bang, VIA University College (Denmark)
Iñaki Begiristain, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Jon Begiristain, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Leire Bereziartua Gonzalez, University of Deusto (Spain)
Roberta Bernabei, Loughborough University (United Kingdom)
Tiyali Bose, XIM University (India)
Stephen Bottomley, Glasgow School of Art (United Kingdom)
Jenny Brownrigg, The Glasgow School of Art (United Kingdom)
Ivan Burbano, Universidad San Francisco de Quito (Ecuador)
Ingrid Calvo Ivanovic, Universidad de Chile (Italy)
Óscar Carracedo, National University of Singapore (Singapore)
Walter Castañeda, Universidad de Caldas (Colombia)
Ezequiel Collantes Gabella, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Eduardo Corte-Real, Universidade Euroepaia do Porto (Portugal)
Eduardo Costa, FAUUSP (Brazil)
Lynne Craig, University of Edinburgh (United Kingdom)
Denise Dantas, University of São Paulo (Brazil)
Caterina Dastoli, Politecnico di Milano (Italy)
Sachin Datt, Sushant University (India)
Wellington de Medeiros, Federal University of Campina Grande (Brazil)
Annalinda De Rosa, Politecnico di Milano (Italy)
Verónica Devalle, Universidad de Buenos Aires (Argentina)
Renata Dezso, Moholy-Nagy University of Art and Design (Hungary)
Delia Dumitrescu, University of Boras (Sweden)
John Fass, No More Heroes Ltd. (United Kingdom)
Paula Fernandez-Gago, University of Deusto (Spain)
Inês Ferreira-Norman, JAWS journal (Portugal
Tom Fisher, Nottingham Trent University (United Kingdom)
Ana Karla Freire de Oliveira, Universidade Federal do Rio de Janeiro (Brazil)
Clorinda Sissi Galasso, POLIMI (Italy)
Iñigo García Odiaga, Euskal Herriko Unibertsitatea (Spain)
Sara Goldchmit, University of São Paulo (Brazil)
Adriana Gómez Alzate (Brazil)
Garoa Gomez Beldarrain, TU Delft (Netherlands)
Jennifer Gray, University of Edinburgh (United Kingdom)
Camilla Groth, University of South Eastern Norway (Norway
Deepti Gupta, Indian Institute of Technology Delhi (India)
Priyanka Gupta, National Institute of Fashion Technology (India)
Sanjay Gupta, World University of Design (India)
Elise Hodson, Royal College of Art (United Kingdom)
Beverley Hood, University of Edinburgh (United Kingdom)
Sampsa Hyysalo, Aalto University (Finland)
Ane Irizar-Arrieta, EUNEIZ University (Spain)
Ula Iruretagoiena, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Anupam Jain, National Institute of Fashion Technology (India)
Derek Jones, Open University (United Kingdom)
Guy Julier, Aalto University (Finland)
Koshalpreet Kaur, Sushant Univeristy (India)
Shakun Preet Kaur, World University of Design (India)
Sarah Kettley, University of Edinburgh (United Kingdom)
Suyash Khaneja, World University of Design (India)
Adrián Larripa, Universidad de Navarra (Spain)
Ganix Lasa Erle, Mondragon Unibertsitatea (Spain)
Matthias Laschke, University of Siegen (Germany)
Itxaro Latasa, UPV/EHU (Spain)
Sara Lenzi, Critical Alarms Lab, Technische Universiteit Delft (Netherlands)
Marcelo Leslabay Martínez, Universidad de Deusto (Spain)
Dave Loder, Glasgow School of Art (United Kingdom)
Felipe César Londoño, Universidad de Bogota Jorge Tadeo Lozano (Colombia)
Alastair Macdonald, Glasgow School of Art (United Kingdom)
Juliette MacDonald, University of Edinburgh (United Kingdom)
Mairi MacKenzie, Glasgow School of Art (United Kingdom)
Rodrigo Martin Iglesias, Universidad de Buenos Aires (Argentina)
Rodrigo Martínez Rodríguez, University of Deusto (Spain)
Francesca Mattioli, Politecnico di Milano (Italy)
Maitane Mazmela Etxabe, Mondragon University (Spain)
Clice de Toledo Sanjar Mazzilli, Universidade de São Paulo (Brazil)
Helen McCormack, The Glasgow School of Art (United Kingdom)
Guilherme Englert Corrêa Meyer, Universidade do Vale dos Sinos UNISINOS (Brazil)
Suruchi Modi, Sushant University (India)
Dr. Charu Monga, IIT Delhi (India)
Claudia Mont'Alvão, PUC-Rio (Brazil)
Juan Giusepe Montalván, Politécnica Universidad Católica de Perú (Perú)
Michel Nader, Aalto University (Finland)
Carlos Naya, Universidad de Navarra (Spain)
Daniel Moreno Nieto, Cadiz University (Spain)
Christopher Nikulin, Universidad Alberto Hurtado (Chile)
Nithikul Nimkulrat, Ontario College of Art and Design (Canada)
Lorena Noyola Piña, Autonomous University of the State of Morelos (Mexico)
Deger Ozkaramanli, Delft University of Technology (Netherlands)
Collette Catherine Paterson, University of Edinburgh (United Kingdom)
Hannah Perner-Wilson, Plusea (Germany)
Lucia Rampino, Politecnico di Milano (Italy)
Aiur Retegi, University of Deusto (Spain)
Julio Cesar Rivera Pedroza, University of Deusto (Spain)
Juan Sádaba, University of the Basque Country / Euskal Herriko Unibertsitatea (Spain)
Tiago Barros Pontes e Silva, University of Brasilia (Brazil)
Davide Spalazzo, Politecnico di Milano (Italy)
Pieter Jan Stappers, Delft University of Technology (Netherlands)
Andrea Taylor, Glasgow School of Art (United Kingdom)
Sarah Taylor, Edinburgh Napier University (United Kingdom)
Frederick M. C. Van Amstel, UTFPR (Brazil)
Annemiek van Boeijen, TU Delft (Netherlands)
Wilfred van der Vegte, TU Delft (Netherlands)
Parul Purohit Vats, World University of Design (India)
Jayne Wallace, Northumbria University  (United Kingdom)
Katy West, GSA (United Kingdom)
Claudia Regina Hasegawa Zacar, Universidade Federal do Paraná (Brazil)
Neena Zutshi, World University of Design (India)
阳 鲁, University of the Basque Country (Spain)

The European Academy of Design (EAD) 
EAD President, Professor Louise Valentine, Heriot-Watt University Dubai (United Arab Emirates)
EAD Vice President, Professor Leon Cruickshank, Lancaster University (UK)
EAD Research Manager, Dr Joanna Bletcher, University of Dundee (UK)

EAD Executive Director, Dr Spyros Bofylatos, RCA London (UK)
EAD Executive Director, Dr Béatrice Gisgard, Unimes University (France)
EAD Executive Director, Dr David Perez, Imagination Lancaster (UK)
EAD Executive Director, Dr Marzia Mortati, Politecnico di Milano (Italy)

EAD2023 HUB CHAIRS
BILBAO Hub
The Discipline of Design – transdisciplinary practices
Juan Sádaba, University of the Basque Country (Spain)
Aiur Retegi, University of Deusto (Spain)
Ezequiel Collantes, Universidad del Pais Vasco (Spain)

SÃO PAULO Hub
Living in the Pluriverse: inclusion and diversity in design research and education
Priscila Farias, University of Sao Paulo (Brazil)
Sara Goldchmit, University of Sao Paulo (Brazil)

SONIPAT Hub
Beyond Human-Centred Design Research
Neena Zutshi, World University of Design (India)

ESPOO Hub
Exploring the Social Impact of Design Research
Michel Nader Sayún, Aalto University, (Finland)
Lucia Rampino, Politecnico di Milano (Italy)

GLASGOW Hub
Extreme Making 
Helen McCormack, The Glasgow School of Art (UK)
Sarah Kettley, Edinburgh College of Art, The University of Edinburgh (UK)


 
EAD 2023 LOCAL ORGANIZING COMMITTEES

THE EUROPEAN ACADEMY OF DESIGN (EAD) 
Louise Valentine, Heriot-Watt University Dubai
Leon Cruickshank, Lancaster University

BILBAO Hub
Juan Sádaba, University of the Basque Country
Aiur Retegi, University of Deusto
Ezequiel Collantes, Universidad del Pais Vasco

SÃO PAULO Hub
Tomás Barata, Universidade de São Paulo - USP
Sergio Tosi, São Paulo State University - UNESP
Sergio Nesteriuk, Anhembi Morumbi University - UAM
Mirtes Oliveira, Anhembi Morumbi University - UAM

SONIPAT Hub
Preeti Yadav, World University of Design
Parul Purohit Vats, World University of Design
Harsh Mehta,World University of Design
Abhishek Srivastava,World University of Design
Shakunpreet Kaur, World University of Design

ESPOO Hub
Michel Nader Sayún, Aalto University
Guy Julier, Aalto University
Sampsa Hyysalo, Aalto University

GLASGOW Hub
Jenny Brownrigg, The Glasgow School of Art
Stephen Bottomley, The Glasgow School of Art
Dave Loder, The Glasgow School of Art



EAD2023 PEER-REVIEWERS
Aitor Acilu, Universidad de Navarra (Spain)
Maria Alonso, University of Malaga (Spain)
Ylenia Alonso, UPV/EHU (Spain)
Javier Antón, Universidad de Navarra (Spain)
Mikel Azkona, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Nilanjana Bairagi, National Institute of Fashion Technology (India)
Anne Louise Bang, VIA University College (Denmark)
Iñaki Begiristain, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Jon Begiristain, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Leire Bereziartua Gonzalez, University of Deusto (Spain)
Roberta Bernabei, Loughborough University (United Kingdom)
Tiyali Bose, XIM University (India)
Stephen Bottomley, Glasgow School of Art (United Kingdom)
Jenny Brownrigg, The Glasgow School of Art (United Kingdom)
Ivan Burbano, Universidad San Francisco de Quito (Ecuador)
Ingrid Calvo Ivanovic, Universidad de Chile (Italy)
Óscar Carracedo, National University of Singapore (Singapore)
Walter Castañeda, Universidad de Caldas (Colombia)
Ezequiel Collantes Gabella, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Eduardo Corte-Real, Universidade Euroepaia do Porto (Portugal)
Eduardo Costa, FAUUSP (Brazil)
Lynne Craig, University of Edinburgh (United Kingdom)
Denise Dantas, University of São Paulo (Brazil)
Caterina Dastoli, Politecnico di Milano (Italy)
Sachin Datt, Sushant University (India)
Wellington de Medeiros, Federal University of Campina Grande (Brazil)
Annalinda De Rosa, Politecnico di Milano (Italy)
Verónica Devalle, Universidad de Buenos Aires (Argentina)
Renata Dezso, Moholy-Nagy University of Art and Design (Hungary)
Delia Dumitrescu, University of Boras (Sweden)
John Fass, No More Heroes Ltd. (United Kingdom)
Paula Fernandez-Gago, University of Deusto (Spain)
Inês Ferreira-Norman, JAWS journal (Portugal
Tom Fisher, Nottingham Trent University (United Kingdom)
Ana Karla Freire de Oliveira, Universidade Federal do Rio de Janeiro (Brazil)
Clorinda Sissi Galasso, POLIMI (Italy)
Iñigo García Odiaga, Euskal Herriko Unibertsitatea (Spain)
Sara Goldchmit, University of São Paulo (Brazil)
Adriana Gómez Alzate (Brazil)
Garoa Gomez Beldarrain, TU Delft (Netherlands)
Jennifer Gray, University of Edinburgh (United Kingdom)
Camilla Groth, University of South Eastern Norway (Norway
Deepti Gupta, Indian Institute of Technology Delhi (India)
Priyanka Gupta, National Institute of Fashion Technology (India)
Sanjay Gupta, World University of Design (India)
Elise Hodson, Royal College of Art (United Kingdom)
Beverley Hood, University of Edinburgh (United Kingdom)
Sampsa Hyysalo, Aalto University (Finland)
Ane Irizar-Arrieta, EUNEIZ University (Spain)
Ula Iruretagoiena, Universidad del País Vasco / Euskal Herriko Unibertsitatea (Spain)
Anupam Jain, National Institute of Fashion Technology (India)
Derek Jones, Open University (United Kingdom)
Guy Julier, Aalto University (Finland)
Koshalpreet Kaur, Sushant Univeristy (India)
Shakun Preet Kaur, World University of Design (India)
Sarah Kettley, University of Edinburgh (United Kingdom)
Suyash Khaneja, World University of Design (India)
Adrián Larripa, Universidad de Navarra (Spain)
Ganix Lasa Erle, Mondragon Unibertsitatea (Spain)
Matthias Laschke, University of Siegen (Germany)
Itxaro Latasa, UPV/EHU (Spain)
Sara Lenzi, Critical Alarms Lab, Technische Universiteit Delft (Netherlands)
Marcelo Leslabay Martínez, Universidad de Deusto (Spain)
Dave Loder, Glasgow School of Art (United Kingdom)
Felipe César Londoño, Universidad de Bogota Jorge Tadeo Lozano (Colombia)
Alastair Macdonald, Glasgow School of Art (United Kingdom)
Juliette MacDonald, University of Edinburgh (United Kingdom)
Mairi MacKenzie, Glasgow School of Art (United Kingdom)
Rodrigo Martin Iglesias, Universidad de Buenos Aires (Argentina)
Rodrigo Martínez Rodríguez, University of Deusto (Spain)
Francesca Mattioli, Politecnico di Milano (Italy)
Maitane Mazmela Etxabe, Mondragon University (Spain)
Clice de Toledo Sanjar Mazzilli, Universidade de São Paulo (Brazil)
Helen McCormack, The Glasgow School of Art (United Kingdom)
Guilherme Englert Corrêa Meyer, Universidade do Vale dos Sinos UNISINOS (Brazil)
Suruchi Modi, Sushant University (India)
Dr. Charu Monga, IIT Delhi (India)
Claudia Mont'Alvão, PUC-Rio (Brazil)
Juan Giusepe Montalván, Politécnica Universidad Católica de Perú (Perú)
Michel Nader, Aalto University (Finland)
Carlos Naya, Universidad de Navarra (Spain)
Daniel Moreno Nieto, Cadiz University (Spain)
Christopher Nikulin, Universidad Alberto Hurtado (Chile)
Nithikul Nimkulrat, Ontario College of Art and Design (Canada)
Lorena Noyola Piña, Autonomous University of the State of Morelos (Mexico)
Deger Ozkaramanli, Delft University of Technology (Netherlands)
Collette Catherine Paterson, University of Edinburgh (United Kingdom)
Hannah Perner-Wilson, Plusea (Germany)
Lucia Rampino, Politecnico di Milano (Italy)
Aiur Retegi, University of Deusto (Spain)
Julio Cesar Rivera Pedroza, University of Deusto (Spain)
Juan Sádaba, University of the Basque Country / Euskal Herriko Unibertsitatea (Spain)
Tiago Barros Pontes e Silva, University of Brasilia (Brazil)
Davide Spalazzo, Politecnico di Milano (Italy)
Pieter Jan Stappers, Delft University of Technology (Netherlands)
Andrea Taylor, Glasgow School of Art (United Kingdom)
Sarah Taylor, Edinburgh Napier University (United Kingdom)
Frederick M. C. Van Amstel, UTFPR (Brazil)
Annemiek van Boeijen, TU Delft (Netherlands)
Wilfred van der Vegte, TU Delft (Netherlands)
Parul Purohit Vats, World University of Design (India)
Jayne Wallace, Northumbria University  (United Kingdom)
Katy West, GSA (United Kingdom)
Claudia Regina Hasegawa Zacar, Universidade Federal do Paraná (Brazil)
Neena Zutshi, World University of Design (India)
阳 鲁, University of the Basque Country (Spain)