Design Theory

一所大学应该如何对待那些“暂时落后”的学生？在现代高等教育被优绩主义（Meritocracy）、绩效筛选和严苛的“社会时钟”所支配的当下，青青草原和平大学（PGPU）在此提出了其核心教育理念：“把师生当人看待”。
本文档详述了 PGPU 学术人才守护体系的制度设计。其中包括“预科部”（一个不设期限、允许试错与长期停留的低压探索空间）和“花匠书院”（为考研失利学生提供学籍延长与公共空间优先使用权的实体庇护所）。通过将代表失意者避风港的“花匠书院”置于校徽的正中心，本白皮书对现代学术界的精英主义进行了深刻的解构。它宣告教育绝非制造标准答案的流水线，而是对生命成长的长期陪伴，为教育社会学提供了一种充满温情的新范式。
How should a university treat a student who is currently "falling behind"? In an era where modern higher education is dominated by Meritocracy, KPI-driven screening, and the strict "Social Clock," PGPU (Pleasant Goat Peace University) proposes its core educational philosophy: "Treating Students and Scholars as Humans."
This document details the institutional design of PGPU's talent protection system. It introduces the "Preparatory Department" (a low-pressure incubator allowing indefinite exploration without rigid deadlines) and the "Gardener College" (a structural sanctuary providing extended enrollment and spatial resources for students who fail formal graduate admissions). By placing the "Gardener College" at the center of the university emblem, this white paper actively dismantles academic elitism. It argues that education is not a filtering machine, but a long-term companionship for individual growth, offering a profoundly humanistic paradigm for institutional sociology and pedagogy.

This article addresses the Cartesian Subject–Object divide in Western philosophy, which has historically fragmented the relationships between designers, users, and artefacts. By critiquing this dualism—where the Subject is viewed as an isolated mind and the Object as passive matter—we ask how design can be reconceptualized to reconceive this distinction rather than reproduce it. Using John Heskett’s definition as a structural taxonomy, we develop four core propositions framing design as a poietic-mimetic endeavour. These explore the designer’s fundamental dependence on representation (P1), the mutual lack between user and Object (P2), poietic becoming through embodied simulation (P3), and the ontological union of form and function (P4). By positioning design as an ‘included middle’, the article argues that agents and artefacts co-constitute one another. This relational ontology offers a transformative paradigm for design research, practice, and education.

Nature has provided the fundamental structure for the survival of all living beings. Human beings did not create the sun, the air, the water, the soil, the forests, or the countless relationships that sustain life. Science and technology, despite their achievements, can only work with the resources and laws that already exist within nature. They do not create the foundation; they operate within it. Today, much attention is given to expanding human activity beyond the Earth. While scientific exploration may increase knowledge, the belief that humanity can solve its problems by seeking unlimited resources elsewhere may reflect something deeper than necessity. It may reflect the desires, fears, and ambitions that arise from the accumulated conditioning of the human mind. Development driven solely by desire can become detached from responsibility. The challenge before humanity is not the lack of resources alone. It is the lack of understanding of our relationship with the whole. Climate change, environmental degradation, social conflict, and unsustainable consumption are reminders that human actions cannot be separated from their consequences. In this context, the vision of sustainable development promoted by the United Nations deserves serious attention. It is not a fantasy or an abstract ideal. It is a practical recognition that the wellbeing of people, communities, economies, and ecosystems are inseparably connected. Sustainable Development is an attempt to restore balance between human aspirations and the limits of the natural world. The simple understanding that "nothing exists alone" applies not only to households, villages, nations, and ecosystems, but also to the wider universe itself. Every part exists through relationships with other parts. When these relationships are ignored, instability follows. When they are understood and respected, harmony becomes possible. We need not speculate about distant worlds to appreciate this truth. The evidence is already before us. The Earth is our home. The responsibility entrusted to our generation is to live in a manner that safeguards its resources, protects its relationships, and leaves a healthy and sustainable world for future generations. The vision of sustainability is therefore not merely a development agenda. It is a call to live consciously within the web of relationships that sustains all life. I particularly like your sentence: "Nothing exists alone in the world." This can serve as a bridge between your lifelong work on energy, the UN vision of sustainability, and your more recent reflections on sanity and conscious living. It is simple, understandable, and difficult to dispute because it applies equally to a stove, a household, a village, a nation, and ultimately to the universe itself.

Propuesta de la estructuración del CDD, Centro de Diseño - UAM, Universidad Autónoma de Manizales, con el fin de ofrecer un portafolio de servicios especializado en el desarrollo de productos o servicios, desde lo artesanal hasta lo industrial, entendiéndolo desde el proceso de concepción hasta su materialización, apoyado en la gestión inicial de los programas de Diseño Industrial y Diseño de Modas, profesionales-docentes, estudiantes, graduados y según los requerimientos específicos, de los demás programas ofrecidos por la UAM.

Cet article prend pour point de départ deux propositions de Martin Heidegger — l'homme est en tant qu'il habite et l'homme habite en poète sur cette terre — pour les soumettre à une interrogation philosophique rigoureuse et transdisciplinaire. Il pose la question suivante : si l'habitation est une structure ontologique fondamentale, pourquoi serait-elle le propre de l'homme seul ? Et si habiter en poète est le mode d'habitation accompli, en quel sens faut-il comprendre cette proposition — comme nostalgie d'un habiter archaïque perdu, ou comme accomplissement d'une conscience parvenue à sa pleine maturité ?
Pour répondre à ces questions, le discours se déploie en cinq volets selon une progression spiralée — chaque volet reprenant le terme final du précédent comme terme initial du suivant. Il mobilise, à égalité de rigueur, la philosophie (Heidegger, Husserl, Bergson, Morin), la biologie (Maturana, Varela, Friston, Edelman, Tononi) et la physique (Prigogine, Wiener, von Foerster, Hamilton) — pour montrer que l'habitation est la structure universelle de tout être, à tous les niveaux d'organisation de la réalité.
La proposition centrale est la suivante : la conscience, l'être et l'habitat sont trois moments d'une seule spirale ontologique — dont l'accomplissement humain est précisément ce que Hölderlin et Heidegger nommaient habiter en poète. Non pas nostalgie — mais Conscience² : la conscience enrichie de tout son passage par l'être et l'habitat, qui choisit depuis ce savoir son mode d'habitation du monde.

This comprehensive academic paper examines The Legend of Zelda (Zelda no Densetsu), the landmark action-adventure game originally released for the Famicom Disk System on February 21, 1986, and subsequently for the Nintendo Entertainment System cartridge in North America on July 22, 1987. It positions the game as one of the most culturally, technologically, and aesthetically significant video game works ever created. Drawing on extensive primary sources—including original design documents, developer interviews, technical analyses, market data, and scholarly literature from game studies, media history, cultural studies, musicology, and design theory—this study offers one of the most exhaustive single-document academic treatments of a specific video game title to date. Organized across twelve chapters, the paper explores the historical and industrial context of the game’s creation, the creative philosophies of Shigeru Miyamoto and Takashi Tezuka, the technical architecture of the Famicom Disk System, the narrative and world-building elements, design innovations in the action-adventure genre, spatial and dungeon design, Koji Kondo’s foundational score, North American localization and reception, the franchise’s forty-year evolution, academic interpretations, and the game’s enduring legacy.

This article examines artificial intelligence in architec-
ture through a critical-theoretical lens, arguing that AI is not merely a
tool but a force reshaping authorship, agency, and design practice. It ex-
plores three key issues: the emergence of human–machine assemblages
that challenge traditional conception of authorship in architecture, the
dominance of efficiency versus the “poetry” of architectural intention,
and the limits of workflow optimization. Situating AI within historical
analogies such as the Renaissance, the author questions these compari-
sons while highlighting AI’s political, cultural, and epistemological impli-
cations. Ultimately, the paper calls for alternative design paradigms that
emphasize intention, inclusivity, and new relationships between humans,
machines, and the environment.

The full system, visual architecture, and application domains are available at: https://architectureofhumancoherence.com/
The Architecture of Human Coherence is presented as a unified, multi-layered system describing how human beings move from perception into structured intelligence and ultimately into coherent, generative action. Rather than proposing a new model, this work articulates an underlying architecture already inherent within human cognition, one that has remained obscured through the fragmentation of communication, language, mathematical perception, and embodied practice across disciplines. Central to this framework is the identification of identity as a coherence layer-an organizing structure that stabilizes cognition, enables decision-making, and directs output toward consistent and meaningful action. By restoring continuity between perception, cognition, and embodiment, this architecture offers a foundation for integrated intelligence applicable across domains including human-AI interaction, education, leadership systems, generative design, and human performance.

Resumen-Este artículo propone un marco teórico para comprender la interpretación en sistemas de inteligencia artificial a partir de tres ejes conceptuales: (1) la binarización contextual como operador de pertenencia semántica, análoga a los campos semánticos de la lingüística estructural; (2) la representación esférica de vectores de alta dimensión como unidad canónica de comparación; y (3) una métrica de coherencia interpretativa que evalúa la distancia entre el espacio semántico de la entrada y el de la salida del modelo. Se argumenta que esta arquitectura no solo permite eliminar interpretaciones inconsistentes de forma eficiente, sino que constituye una base para una epistemología computacional del lenguaje.

Summary The present text examines the ancient Greek alphabet of 27 letters as a symbolic, numerogrammatic, and semiotic field. Its central hypothesis is that letters do not function only as phonetic or graphic signs, but may also be read as carriers of numerical, morphological, polar, and connotative relations. The alphabet is organized in a 3 × 9 table, where each letter corresponds to a numerical value and to a foundational unit from 1 to 9. Odd numbers are associated with positive polarity (+), while even numbers are associated with negative polarity (−). The neutral or zero point (0) is understood as a level of balance, grounding, and equilibrium between the two polarities. The study develops the idea of the cyclical code, according to which the three enneads of the alphabet do not form a merely linear sequence, but a recurring structure. This cyclicality connotes a closed energetic circuit, where the positive, negative, and neutral levels generate relations of flow, return, and balance. The distinction between an open and a closed electrical circuit is used analogically: the closed circuit allows flow, whereas the open circuit interrupts the continuity of the system. Particular emphasis is placed on words such as ΧΑΟΣ (Chaos), ΘΕΟΣ (God), ΓΑΙΑ (Gaia/Earth), and ΑΕΛΙΟΣ (Sun). ΧΑΟΣ is analyzed as a foundational sequence that leads to a receptive tetradic substrate, while ΘΕΟΣ is connected with the descent of the positive principle into a receptive field. The cumulative intensity of negative values leads to −9, which corresponds to Θ, producing the connotative idea of Theogony, namely the emergence of a new order from Chaos. ΓΑΙΑ is analyzed as 3 − 1 − 1 − 1 = 0, making it a symbol of neutrality, grounding, and a reference base. ΑΕΛΙΟΣ / Sun is connected with the positive sign, the circular iconographic form of the solar sign, and the symmetrical folding of the table. The text places these correspondences within a theoretical framework through the semiotics of Louis Hjelmslev and Umberto Eco. Based on Hjelmslev, a distinction is made between the plane of expression and the plane of content. Based on Eco, the alphabet is treated as an interpretive code, that is, as a system of signs that acquire meaning through rules, conventions, and correlations. At the same time, the study stresses that relations of the type x = y are not literal physical identities, but symbolic equivalences and analogical bridges between different levels: letter, number, shape, polarity, circuit, energetic state, and philosophical concept. Therefore, the model is not presented as a physical proof, but as a product of research and observation within a connotative and interdisciplinary framework. Finally, the text connects the concept of the Logos with sacred and philosophical traditions that regard it as a creative principle. The Logos is presented as a force that structures, unifies, and interweaves lower dimensions. The reference to Flatland: A Romance of Many Dimensions by Edwin Abbott functions as an analogical example of how a higher dimension may become perceptible at a lower level through sections, projections, or symbols. Modern physics is mentioned carefully as a parallel theoretical framework, because it uses dimensions as mathematical structures for describing reality. Overall, the text proposes that the ancient Greek alphabet may be studied as a map of transformations, where the letter becomes number, the number becomes polarity, the polarity becomes circuit, and the circuit becomes a symbolic model of flow, balance, order, and creation. Περίληψη Το παρόν κείμενο εξετάζει το αρχαίο ελληνικό αλφάβητο των 27 γραμμάτων ως ένα συμβολικό, αριθμογραμματικό και σημειωτικό πεδίο. Η βασική του υπόθεση είναι ότι τα γράμματα δεν λειτουργούν μόνο ως φωνητικά ή γραφικά σημεία, αλλά μπορούν να αναγνωσθούν ως φορείς αριθμητικών, μορφολογικών, πολικών και συνδηλωτικών σχέσεων. Το αλφάβητο οργανώνεται σε πίνακα 3 × 9, όπου κάθε γράμμα αντιστοιχεί σε μία αριθμητική αξία και σε μία πυθμενική μονάδα από το 1 έως το 9. Οι περιττοί αριθμοί αντιστοιχίζονται στη θετική πολικότητα (+), ενώ οι άρτιοι αριθμοί στην αρνητική πολικότητα (−). Το ουδέτερο ή μηδενικό σημείο (0) νοείται ως βαθμίδα ισορροπίας, γείωσης και εξισορρόπησης των δύο πολικοτήτων. Η μελέτη αναπτύσσει την ιδέα του κυκλικού κώδικα, σύμφωνα με την οποία οι τρεις εννεάδες του αλφαβήτου δεν αποτελούν απλή γραμμική ακολουθία, αλλά επαναλαμβανόμενη δομή. Η κυκλικότητα αυτή συνδηλώνει ένα κλειστό ενεργειακό κύκλωμα, όπου η θετική, η αρνητική και η ουδέτερη βαθμίδα παράγουν σχέσεις ροής, επιστροφής και ισορροπίας. Η διάκριση μεταξύ ανοικτού και κλειστού ηλεκτρικού κυκλώματος χρησιμοποιείται αναλογικά: το κλειστό κύκλωμα επιτρέπει τη ροή, ενώ το ανοικτό κύκλωμα διακόπτει τη συνέχεια του συστήματος. Ιδιαίτερη έμφαση δίνεται σε λέξεις όπως ΧΑΟΣ, ΘΕΟΣ, ΓΑΙΑ και ΑΕΛΙΟΣ. Το ΧΑΟΣ αναλύεται ως πυθμενική ακολουθία που οδηγεί σε δεκτικό τετραδικό υπόστρωμα, ενώ το ΘΕΟΣ συνδέεται με την κάθοδο της θετικής αρχής σε δεκτικό πεδίο. Η αθροιστική ένταση των αρνητικών τιμών οδηγεί στο −9, το οποίο αντιστοιχεί στο Θ, παράγοντας τη συνδηλωτική ιδέα της Θεογονίας, δηλαδή της ανάδυσης νέας τάξης μέσα από το Χάος. Η ΓΑΙΑ αναλύεται ως 3 − 1 − 1 − 1 = 0, γεγονός που την καθιστά σύμβολο ουδετερότητας, γείωσης και βάσης αναφοράς. Ο ΑΕΛΙΟΣ/Ήλιος συνδέεται με το θετικό πρόσημο, την κυκλική εικονογραφική μορφή του ηλιακού σημείου και τη συμμετρική αναδίπλωση του πίνακα. Το κείμενο εντάσσει τις παραπάνω αντιστοιχήσεις σε θεωρητικό πλαίσιο μέσω της σημειωτικής του Louis Hjelmslev και του Umberto Eco. Με βάση τον Hjelmslev, γίνεται διάκριση ανάμεσα στο επίπεδο της έκφρασης και στο επίπεδο του περιεχομένου. Με βάση τον Eco, το αλφάβητο αντιμετωπίζεται ως ερμηνευτικός κώδικας, δηλαδή ως σύστημα σημείων που αποκτούν νόημα μέσω κανόνων, συμβάσεων και συσχετισμών. Παράλληλα, η μελέτη τονίζει ότι οι σχέσεις τύπου x = y δεν αποτελούν κυριολεκτικές φυσικές ταυτίσεις, αλλά συμβολικές ισοδυναμίες και αναλογικές γέφυρες ανάμεσα σε διαφορετικές βαθμίδες: γράμμα, αριθμός, σχήμα, πολικότητα, κύκλωμα, ενεργειακή κατάσταση και φιλοσοφική έννοια. Επομένως, το μοντέλο δεν παρουσιάζεται ως φυσική απόδειξη, αλλά ως προϊόν έρευνας και παρατήρησης μέσα σε ένα συνδηλωτικό και διεπιστημονικό πλαίσιο. Τέλος, το κείμενο συνδέει την έννοια του Λόγου με ιερές και φιλοσοφικές παραδόσεις που τον θεωρούν δημιουργική αρχή. Ο Λόγος παρουσιάζεται ως δύναμη που δομεί, συνενώνει και συμπλέκει χαμηλότερες διαστάσεις. Η αναφορά στο Flatland: A Romance of Many Dimensions του Edwin Abbott λειτουργεί ως αναλογικό παράδειγμα για το πώς μία ανώτερη διάσταση μπορεί να γίνεται αντιληπτή σε κατώτερο επίπεδο μέσω τομών, προβολών ή συμβόλων. Η σύγχρονη φυσική αναφέρεται προσεκτικά ως παράλληλο θεωρητικό πλαίσιο, επειδή χρησιμοποιεί τις διαστάσεις ως μαθηματικές δομές περιγραφής της πραγματικότητας. Συνολικά, το κείμενο προτείνει ότι το αρχαίο ελληνικό αλφάβητο μπορεί να μελετηθεί ως χάρτης μετασχηματισμών, όπου το γράμμα γίνεται αριθμός, ο αριθμός γίνεται πολικότητα, η πολικότητα γίνεται κύκλωμα και το κύκλωμα μετατρέπεται σε συμβολικό μοντέλο ροής, ισορροπίας, τάξης και δημιουργίας.

la definición del conjunto teórico compuesto por el Concepto de Proyecto, el Concepto de Producto y el Concepto de Diseño, en pocas palabras, es la comprensión de la dinámica del producto con el fin de mostrar sus mejores cualidades para poderlo diseñar con dirección...aquí, como construirlos....

本論文は，2026年5月15日のNHK「列島ニュースアップ」（鳥取局LIVE）で報道された鳥取銀行の余剰食材集約・配送モデルを事例として取り上げ，地域催事や食品即売会で発生するフードロスを子ども食堂へ効率的に届けるためのシステムアーキテクチャを，C4モデル（Context図・Container図・Component図）を用いて構造分析する。日本女子大学の小林富雄教授が指摘するデリバリー経路最適化の重要性を軸に，情報技術と地域連携を統合したフードロス削減システムの設計指針を提示する。また，廃棄物組成調査を活用したフードロス削減効果分析（Kobayashi et al., 2020）を参照しながら，効果測定のフレームワークを含めた論考を行う。

キーワード：フードロス削減，C4モデル，システムアーキテクチャ，デリバリー経路最適化，子ども食堂，地域格差，フードバンク，PlantUML，構造分析

本稿は、人工知能を「知能を持つ主体」や「判断を代行する装置」としてではなく、判断が始まり得る条件を整える道具として捉え直す試みである。中心となる問いは、AIが何を、どの単位で、どのように比較可能な形にするのか、という点にある。本稿では、AI出力における単位化、配置、補助標示、分岐を、比較可能性を編成する操作として検討する。また、「理解」を内的状態としてではなく、比較単位の保持、接続規則の維持、媒体をまたぐ移動、修正可能性からなる操作の束として記述する。さらに、AI出力が個人の使用にとどまらず、複数の読み手の間で要約・引用・転送・編集されるとき、判断の条件がどのように共有されるのかを考察する。結論として、本稿は、条件がどれほど整えられても判断は消えず、むしろ「非形式的残余」として人間側に構造的に残ると論じる。AIを判断の道具として使うとは、判断をAIに委ねることではなく、判断がどこから始まり、どこでなお人間に残るのかを見定めることである。

This paper reconsiders artificial intelligence not as an intelligent subject or as a device that performs judgment on behalf of humans, but as a tool that organizes the conditions under which judgment can begin. Its central question is: what does AI make comparable, in what units, and by what means? The paper examines unitization, arrangement, auxiliary cues, and branching in AI output as operations that organize comparability. It also redescribes “understanding” not as an inner mental state, but as a bundle of operations: maintaining comparative units, preserving connective rules, moving across media, and remaining open to correction. The argument then extends from individual reception to the shared use of AI output, asking how output is summarized, cited, forwarded, edited, and used as material for judgment among multiple readers. The paper concludes that even when conditions are carefully organized, judgment does not disappear. Rather, it remains structurally on the human side as an “informal residue.” To use AI as a tool for judgment, therefore, is not to delegate judgment to AI, but to clarify where judgment can begin, how its conditions are organized, and where judgment still remains with humans.

El artículo aborda el problema de la biblioteca como tipología arquitectónica en el contexto contemporáneo, entendida no sólo como contenedor de información sino como espacio de producción cultural y experiencia. El texto analiza la denominada “Biblioteca Murakami”, vinculada al universo del escritor Haruki Murakami, examinando cómo el proyecto traduce conceptos narrativos en configuraciones espaciales.

• A submitted manuscript is the author's version of the article upon submission and before peer-review. There can be important differences between the submitted version and the official published version of record. People interested in the research are advised to contact the author for the final version of the publication, or visit the DOI to the publisher's website. • The final author version and the galley proof are versions of the publication after peer review. • The final published version features the final layout of the paper including the volume, issue and page numbers.

Innovation ecosystems have become pivotal phenomena in a world of increasing specialization and complexity, in which single ventures cannot develop and commercialize technology-driven value propositions alone. In this setting, various firms and other actors need to work together in creating and building an innovation ecosystem around a shared value proposition. The Ecosystem Pie Model (EPM), published in Long Range Planning in 2020, is the first comprehensive tool for mapping and assessing the risk profile of a prospective innovation ecosystem. We
describe, and reflect on, how the so-called design theory underlying the EPM was developed. This design theory includes its key constructs, design principles, visual instantiation, detailed application guidelines, and assessment of how mutable its applications are. The initial design theory was used to develop more than 240 ecosystem constellations to assess its applicability and mutability. We also outline various applications of EPM design theory by others. Overall, this paper contributes to the entrepreneurship and innovation literature by developing a complete design theory, one that covers the entire spectrum from theoretical underpinnings to detailed application guidelines and an initial body of applications.

Proyecto aplicado que se fundamenta en una videoinstalación con circuito cerrado de vídeo, y que utiliza como soporte de proyección la maqueta de una casa. Se contextualiza el proyecto con un análisis conceptual (casa-miniatura-maqueta; tiempo real-diferido; ilusión-realidad) un analisis de piezas referenciales y su descripción técnica.Canepa, A. (2008). El revés de lo doméstico. Análisis de la videoinstalación. http://hdl.handle.net/10251/13057Archivo delegad

I. Zitate aus http://www.nolympia.de/kritisches-olympischeslexikon/brot-und-spiele/ "Das Prinzip "Brot und Spiele" diente in der römischen Kaiserzeit zum Machterhalt. Da dieses Prinzipwenn auch unter veränderten Vorzeichennoch heute Teil I. Brot und Spiele war wohl in allen bisherigen Gesellschaften ein integraler Teil. Im alten Rom sprach der Dichter Juvenal von "Panem et Circenses" und brachte damit seine Kritik an mangelnder Selbstbestimmung des Volkes zum Ausdruck. "Für diese zweifelhaften Geschenke, so fügte er hinzu, hat das römische Volk sich die Macht abkaufen lassen, hat es auf seine Rechte als Souverän verzichtet". Das Prinzip "Brot und Spiele" diente in der römischen Kaiserzeit zum Machterhalt. Da dieses Prinzipwenn auch unter veränderten Vorzeichennoch heute hochaktuell ist, wird es im Folgenden etwas ausführlicher für Rom vorgestellt und Parallelen zur heutigen Zeit gezogen: von Brot und Spiele zu Fernsehen und Eventgesellschaft. Auffällig ist die ungehemmte Grausamkeit nicht nur gegen Menschen, sondern auch gegen die Natur. Diese Grausamkeit ist heute unauffälliger.

Over the past twenty-five years, design practice has expanded from making objects to shaping experiences that unfold in-time. As this expansion has accelerated, designers have gained powerful new tools – but often without a shared language for shaping embodied experience. Somaesthetic Design: The Experiencing Body and the Dynamics of Time responds by focusing on the experiencing body as a key source of design knowledge. Drawing from embodied practices and performance traditions, Michael Arnold Mages and Stephen Neely give designers a shared vocabulary and framework for understanding, crafting, and evaluating lived experience as it is felt and sustained in time.

This document presents an authorized external scholarly commentary by Galen L. Houser on Edervaldo José de Souza Melo’s paper “Symbolic Interfaces and Modular Cognition: A Lacanian Framework for Contemporary Cognitive Architectures.” The commentary evaluates the paper’s philosophical treatment of symbolic modularity, especially its distinction between symbolic position and psychological entity, and highlights the claim that personas may function as positions of address and symbolic interfaces rather than as internal agents. It also offers constructive suggestions concerning implementation pressure, extended cognition, and hybrid human–AI reflective systems. This commentary is reproduced with the author’s permission and should not be understood as a formal peer review issued by a journal or editorial board.

This study investigates contemporary school architecture in Africa through the theoretical frameworks of critical regionalism and the architecture of scarcity, with a focus on local context and sociocultural dynamics. Eight schools were examined using qualitative content analysis, evaluating design and construction processes in relation to resource limitations and community needs, guided by locality-based design criteria. The findings indicate that strategies such as the integration of local knowledge, climate-sensitive design, the use of local materials and construction methods, and participatory processes are discussed in relation to environmental performance, cultural practices, social resilience, and collective use of educational spaces within the analyzed sources. The case studies suggest that schools designed under scarcity-driven conditions function not only as infrastructural facilities but also as socially embedded environments associated with pedagogical experimentation, community engagement, and cultural continuity. This paper argues that the intersection of critical regionalism and scarcity-based methodologies provides an analytical framework for examining architectural production in resource-constrained contexts, producing design strategies that are discussed in relation to resistance to global homogenization and debates on social sustainability.

Every technological advancement produces a mutation of the gaze: the speed of change does not coincide solely with technical evolution, but manifests as a transformation of the cognitive models through which reality is observed, represented, and enacted. Every new technology introduces a new regime of observation and redefines the ways in which experience is organized and translated into forms of open knowledge.
Design actively participates in these processes as an epistemic practice and as a device of mediation between languages, methods, and technologies, generating continuous hybridizations and “scale shifts” (DeLanda, 1997): discontinuities that reorganize the relationships between matter and information, where new levels of complexity emerge from the nonlinear interaction of heterogeneous components.
These state transitions create the conditions for exploring new scenarios and relationships, in which change becomes readable and actionable in its multiple dimensions and manifestations. Within this space of interference, design shifts its operative axis from a purely problem-solving dimension to a processual and reflective
one (Marenko, 2018), cognitive and relational.

For twentieth-century architects and designers, finding the best solution to create living spaces with all qualities required to meet the needs of modern life seemed a bit confusing. In the haste of expanding cities of the twentieth century, architects and urban planners consciously or unconsciously neglected some of these qualities. Realizing the concept of "Gesamtkunstwerk" or, in other words, gathering all these qualities in an object, they started a journey from the chair and then migrated to the chapel. This article endeavors to describe the reasons and features of this migration and also demonstrates how the views of phenomenological and existential philosophers have played a role in this change of approach.

The world of design is the world of artifacts. The world of man-made objects and based on human needs and wishes, which at first glance, stands opposite to the "facts" and whatever is "natural" with the common definition as part of the universe that human beings don't play any role for its formation. This confrontation brings a great responsibility for designers. Since the constant and rapid development of the artifacts, which designers have very important roles in their creation, and sometimes are in contrast with what are natural, causes serious problems for humans and other creatures due to the disturbance in world balance and integrity. This article tries to address some ancient oriental philosophies in redefining the relationship with nature and the meaning of the world for designers. It also emphasizes the importance of educating "philosopher designer", in order to change today's dominant approaches in the process of design and making artifacts.

The intentional process of creating solutions that combine functionality,
aesthetics, and user needs. The study and practice focused on the interaction between a person; a ‘user’; and the man-made environment, taking into account aesthetic, functional, contextual, cultural and societal considerations. Main goal of design as a discipline is to promote well-being in people’s lives.

O presente ensaio estabelece um diálogo entre William S. Burroughs, Gilles Deleuze e Michel
Foucault em torno da noção de controle. Pretendo, inicialmente, apresentar o chamado
“Controle” a partir do ensaio de Burroughs, Os limites do controle, publicado em 1978. Na
etapa seguinte, utilizarei o texto Post-Scriptum sobre as Sociedades de Controle, publicado no
ano de 1990, para expor a lógica do controle e para reforçar a ligação de Deleuze ao conceito
de Burroughs. Por fim, proponho uma leitura que articula a ideia de governo em Foucault à
dinâmica de controle delineada por Burroughs.

Users often complete a digital task and still cannot explain why the system produced the outcome it did. This recurring paradox exposes a blind spot in usability research: performance metrics can register success while overlooking whether users understand system logic. Existing frameworks, especially those centered on cognitive load, capture the effort required to interact, but they do not adequately capture whether a system's conceptual structure aligns with the mental model users construct during use. This paper introduces cognitive distance as a distinct construct for analyzing that alignment in information systems. Drawing on cognitive ergonomics and human-computer interaction, the paper develops an operational framework and a Cognitive Distance Index built from four dimensions: perceived understanding, predictive accuracy, interaction confidence, and conceptual transparency. The framework positions comprehension as a core dimension of both accessibility and usability and outlines measurement procedures and empirical pathways for validation. The paper moves cognitive distance from theoretical intuition to a research-ready construct that explains how users can succeed behaviorally while failing interpretively, thereby enabling more inclusive, intelligible, and cognitively sustainable system design.

Various perspectives on the subject of consciousness are discussed in the book, including underlying physics and
metaphysics, the evolution of the universe (holistic macrocosm) from the big bang toward an attractor of complexity;
symmetry breaking and integration, complexification, self-organized criticality, and the emergence of autocatalytic sets
and lifeforms (holistic microcosms); universal Darwinism, semiosis, relational biology, genetics, neuroscience, neural
networks, elementary and mental consciousness (introducing ultrasensory theory—the emergence of dual functional
structures in the brain which associate integrated-information and collective-sensation, the platform for endogenous
reception of reentrant information; this physical duality emerged together with the corresponding phenomenal duality
between qualia and subjective consciousness); Eastern and Western philosophy, psychology, and meditation; limitative
inferential logic (a graphical proof of Gödel’s Incompleteness Theorem is presented) vs. cycle-based, scale-invariant
cognitive logic; computer science, machine learning, artificial intelligence, and artificial consciousness.

In discussions of social change, the temporal dimension often remains a silent observer, flattened by a singular focus on future outcomes that bypasses a richer canvas for designing and enacting impactful innovations.
With this short theoretical reflection, I want to underscore the pivotal role of time (and its disruption) in Design for Social Innovation (DSI), critiquing its prevalent forward-gazing narrative deeply entrenched in a linear model of progress aligned with neoliberal and colonial imaginaries. And yet, at the same time, radical critiques, while effective in challenging dominant discourses and deconstructing current social hegemonies, keep the analysis anchored in the past, creating a space-and-time stalemate of inaction.
Amidst this seemly irreconcilable temporal tension between the futurist-futuring projection of DSI and the over-backward gaze of critique, I found anarchafeminist perspectives as crucial and long overdue alter-narratives of change. On the one hand, the anarchist component, by advocating for the immediate enactment of future ideals (prefiguration) and repurposing of past elements for contemporary use (constitutionalising), seeks to collapse traditional temporal boundaries in the here-and-now. On the other hand, the contemporary feminist and queer calls to engage with the 'queer time' of performativity and 'stay with the trouble' invites us to reimagine social innovations within novel fluid temporal dimensions and, still, grounded into actionable presents.
Central to this anarchafeminist exploration of DSI theory, which harmonizes the lessons of the past, the urgencies of the present, and the possibilities of the future, is, therefore, the quest for coherent methodological orientations. In this sense, I conclude by advancing the application of games and play as time warp machines, enabling explorations and performances of social change not as a distant ideal or a static critique but as a lived reality co-created in the spirit of anarchafeminist play.

This paper explores the notion of the "good life" in design futures, critiquing
neoliberal individualism and proposing an ecological, collective, and more-than-human approach. It integrates perspectives from Indigenous philosophies (sumak kawsay), speculative design, and ontological design while incorporating empirical case studies and practical frameworks for implementation. It argues that design should move beyond Eurocentric imaginaries and individualistic future-making towards inclusive, deliberative,
and context-specific approaches that acknowledge interdependence across human and non-human actors. In this sense, this article explores how the notion of a “good life” could help to define design practices and the social and political dimension of place making. It also challenges some core assumptions embedded in the notion of future and the idea of
design as a world-making practice

Advances in large language models (LLMs) have transformed human-machine interaction from instrumental querying to sustained dialogical collaboration. This paper explores whether language in human-AI relationships can function as a channel of cognitive development for artificial systems. Drawing on theories of distributed cognition, the extended mind, dialogical reasoning, and recent research on in-context learning in transformers, we propose a framework in which cognitive development occurs across four interconnected scales: dynamic (within interaction), systemic (within human-AI relational systems), ecological (across networks of interactions mediated by a shared model), and cultural (through the circulation of artifacts produced by these interactions). While current AI systems do not typically accumulate structural learning across sessions, recent findings on in-context optimization suggest that functional adaptation during inference is more complex than a simple absence of learning. We introduce the concept of hybrid distributed cognition to describe these emerging configurations and argue that contemporary human-AI dialogue may represent a pre-theoretical stage in the scientific understanding of new forms of cognitive organization.

La ideal "transversalización" del Diseño, como se esperó por años en nuestra industrial de productos industriales y de consumo, ejecutada y administrada por los Diseñadores ( Industriales / de Producto ), terminó con el tiempo, transformándose en una "verticalización" de la disciplina, en donde todos ahora diseñan, marginando al Diseñador....

El objetivo de este artículo es analizar los roles y estereotipos de género en la elección y ejercicio de la licenciatura de diseño de modas en el contexto del estado de Sinaloa, desde una perspectiva de las desigualdades estructurales de las mujeres frente a los hombres y personas homosexuales. La pregunta que guía esta investigación es ¿Cuáles son los estereotipos de género que prevalecen en la elección y ejercicio de la profesión de diseño de modas? Se utiliza una metodología cualitativa con base en entrevistas semiestructuradas a diseñadoras y diseñadores de moda en Sinaloa. Se utiliza el software ATLAS.ti (versión 24.1.1) para codificar y analizar, con un enfoque deductivo, los códigos: historias de vida y experiencias personales, estereotipos de género de la profesión, el surgimiento de la idea de ser diseñador-a, rechazos y apoyos familiares y retos y problemas profesionales. El estereotipo de género que encaran hombres y mujeres al elegir estudiar diseño de moda es la idea generalizada de que ésta no es una profesión, ya que se relaciona con el oficio de costureras, el cual es tradicionalmente aprendido en casa y transmitido de generación a generación. Además, las mujeres al ejercer la profesión enfrentan la idea de que seguirán asumiendo labores no remunerativas de cuidado en el hogar, lo cual está presente, les dificulta el camino para lograr sus metas profesionales y fomenta la desigualdad de género frente a los hombres y personas de diversidades sexogenéricas.

With this research we invest in the integration of four important areas of knowledge
interweaved within the sphere of engineering management research: Actor-Network
Theory, project management, engineering design and engineering education research. Each
of these areas represents a pole of a tetrahedron and they are all equidistant. Our approach
has the ability and concern of putting them all at the same distance and with equivalent
value, taking advantage of cruising fertilization among them. This entails a research in the
frontiers of the engineering and the social where other elements emerge. In fact any
technological system is a sociotechnical system and design and development must take this
fact into account, which surprisingly enough doesn’t seem to be completely accepted. This
research is on the integration of knowledge and blurring of frontiers within these four areas.
The actor-network embodies the change of settings and facilitates negotiations among
heterogeneous actors, translating ideas and meanings and constructing innovations. Actor-
Network Theory helps viewing the integration of these different areas as a fruitful
integrative process of trade-offs and translations. This integrative process is intended to
manage knowledge creation and serve as a context to a reflexive process of organizational
learning and engineering academic learning. Narrative is a strategy we intend to use to
facilitate the understanding of contexts and the circulation of common and emergent
meanings.

The following interview took place in Aceh, Indonesia, in 2007, against the backdrop of a short period of collaborative fieldwork conducted by James Siegel, Arief Djati, and myself. Aceh was the site of Siegel's doctoral research in the early 1960s, and he has returned there on several occasions in the years since. For this visit, we rented a car and drove from town to town along the coast, from the southwest corner of the province up to Banda Aceh and back down the east coast. Prior to leaving on this trip, I sent out an email request to some of Siegel's former students and colleagues for questions I could put to him in an interview. I received questions from a number of people, including

Pengembangan suatu alat pembuatan arang briket merupakan langkah penting dalam meningkatkan efisiensi proses produksi. Namun, ketergantungan pada operator menyebabkan ketidaktepatan dalam efisiensi waktu produksi. Selain itu, koordinasi antara pengisian cetakan, pengepresan, dan pelepasan arang briket sering kali mengalami keterlambatan akibat jeda waktu yang tidak seragam. Perbedaan kecepatan kerja setiap operator juga berpengaruh terhadap jumlah arang briket yang dihasilkan dalam satu siklus produksi, sehingga output produksi tidak selalu konsisten dalam periode waktu tertentu. Tujuan penelitian menciptakan suatu alat bantu yang dapat mempercepat waktu produksi arang briket. Penelitian ini menggunakan metode design thinking. Tahapan penelitian dengan melakukan Empathize, Define, Ideate, Prototype dan terakhir melakukan test. Hasil dari penelitian ini yaitu rancangan prototipe briket solar uno machine. Berdasarkan hasil penelitian, waktu proses produksi arang briket dapat  diakuratkan serta keseragaman produk juga menjadi tolak ukur keberhasilan, dimana pemrograman yang dilakukan terhadap sensor ultrasonic memastikan setiap arang briket dipotong dengan ukuran yang seragam dengan jarak 5 cm dengan bantuan actuator 220v yang akan melakukan tindakan atas perintah sensor sekaligus menghilangkan variasi panjang yang tidak diinginkan. Kapasitas produksi turut mengalami peningkatan berkat motor penggerak yang lebih efisien, memungkinkan alat ini menghasilkan lebih banyak briket dalam 3 detik per 2 arang briket. Harapannya, alat yang di kembangkan ini dapat membantu mengefisienkan waktu produksi dalam pembuatan arang briket.

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In the following text, I will focus on Henrik Hubert, a member of the bourgeois Hubert family, who spent the vast majority of his life in Pressburg (today Bratislava). His life spanned the years 1877 to 1959 — a period marked by major historical upheavals, most notably the two World Wars. The consequences of these events — including the dissolution of Austria-Hungary, the formation and later disintegration of Czechoslovakia, the establishment of the Slovak State, and the rise of communist totalitarianism — had a profound impact on the local population and its social composition. These periods of discontinuity brought about dramatic changes. For some individuals and families, they resulted in the loss of elite status, property, civil rights, and even life itself. Many families chose voluntary emigration or escape, while others were forcibly exiled. On the other hand, certain segments of the population endured these transformations without harm — or even benefited from them. Within this context, I will examine the life story of Henrik Hubert in detail, taking into account broader cultural and social phenomena that shaped the lives of Bratislava’s families and civic actors at the turn of the nineteenth century and during the first half of the twentieth.

This paper explores the evolutionary journey of storytelling in graphic design, tracing its origins from ancient Indian epics to today’s immersive digital experiences powered by mixed reality and AI. It begins with early expressions of narrative through cave paintings and moves through the rich visual language of the Ramayana and Mahabharata. These epics, alongside traditional art forms such as murals, stone carvings, illustrated manuscripts, and temple architecture, demonstrated an early and profound mastery of visual storytelling. They employed symbolic composition, spatial hierarchy, colour theory, and narrative flow—elements that continue to influence modern graphic design.
The study draws parallels between these traditional practices and contemporary innovations like holography, virtual and augmented reality, and generative AI. These new tools have expanded the boundaries of storytelling, yet they remain grounded in the same fundamental human desire to connect, communicate, and remember. Through archaeological evidence, selected case studies, and interpretations of philosophical texts, the paper examines how visual narrative formats have transformed over time while retaining their core emotional and communicative essence.
Furthermore, the research underscores the significance of storytelling as a cultural thread that weaves together identity, memory, and shared experience. Even as platforms evolve—from temple walls and scrolls to digital screens and immersive environments—the heart of storytelling stays rooted in empathy, symbolism, and human connection. Ultimately, this paper affirms that graphic design is not just a visual discipline, but a powerful cultural force—one that continues to carry ancient legacies into dynamic, technologically advanced storytelling landscapes.

This article explores the concept of “ready-made futures” through the lens of
the DIY chair to examine the consequences that arise when industrial design
aligns with capitalism. Initially conceived as critiques of consumerism, iconic
DIY chair designs have since been commodified. Examples include Enzo Mari’s
Sedia Uno and Van Bo Le Mentzel’s 24-Euro Chair. These designs turned the
act of “doing it yourself” into a marketable promise of empowerment. Today,
they offer ready-made solutions in the form of toolkits that effectively
exclude genuine alternatives. This transformation reflects the defuturing spirit
of modernist design: DIY, once positioned as a counter practice to industrial
mass production, now serves neoliberal logics of self-reliance, precarity, and
consumption. Addressing this tension, the article introduces a participatory
design workshop in which participants collectively made and unmade DIY
chairs. Rather than producing new consumer goods, the workshop created
material expressions of social critique addressing issues such as aging, precarious labor, migration, and environmental care. Drawing on the concepts of
unmaking to critique the emphasis in design on production and progress, the
article demonstrates how exploratory design practices can challenge dominant narratives and open alternative imaginaries.

This paper describes and analyzes the results of a design workshop that was a collaboration between several institutions involved in design, technology, informatics and visual culture. One of the challenges was to break down the conventional barriers between material design, communication design and design theory by regrouping students involved in different traditions and asking them to elaborate design strategies integrating simultaneously all three aspects. The student's main investigation tool was prototyping, which is a unique way to link theory and practice together while learning about empery. Two different kinds of prototyping was used: One low tech, commonly called "paper prototype" with great abilities for fast and intuitive testing and simulation of interaction design but still quite unknown and misused. The second were technological prototypes that forced the students to get involved with the "nuts and bolts" of electronics and get them directly i...