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3Fashion design has rapidly become a digital process where textiles are simulated as soft, conformable materials on a digital body. The embodied experience and physical interaction with the textile have been replaced by screen-based media, resulting in a gap in understanding between physical and digital textile material. Consequently, understanding digitized textile properties and characteristics has become challenging for practitioners. This research investigates fashion designers’ implicit understanding when selecting textiles, specifically how interactions with physical textiles influence design considerations. Twenty digital fashion designers interacted with ten physical textile materials via tangible and scientific drape measurements, reflecting upon their design considerations. In digital environments, a tangible understanding of material properties is vital, and scientific drape measurements add significant understanding to digital design. The research advances our understanding of integrating digital tools in textile and soft material practices, where a postphenomenological approach is employed to help formulate the design considerations in selecting materials.
CONFERENTIEBIJDRAGE
The world is changing fast, and technology is becoming smarter and more intelligent. As Artificial Intelligence dominates the conversation — with Quantum Computing, Synthetic Data, and Organoid Intelligence on the horizon — designers face an urgent question: Are we heading toward Utopian or Dystopian digital futures? This proceedings, featuring 11 in-depth contributions, addresses how these rapid digital developments fundamentally influence the work of the designer, the design process, and the applied design researcher. The authors are not looking for quick answers, but try to determine the future questions that emerge from the interaction between design and AI. The authors explore the challenges and opportunities AI presents to the design profession, discussing the value of human creativity when AI can generate unlimited amounts of creative content instantly. This publication is a necessary exploration for the community of Applied Design Researchers, seeking the right questions to deal with the complex relationship between design and an increasingly intelligent world. This publication documents the results of the NADR 2025 knowledge cycle. Each year, NADR explores a specific research theme, supporting an exchange of knowledge and experience to further develop the field of Applied Design Research. The proceedings were presented at the NADR symposium on October 20, 2025, during the Dutch Design Week in Eindhoven.
BOEK
Websites placing cookies on your computer to track your browsing behavior. TikTok stores your personal data in China. Are you aware of what products, services, and organisations do with your personal data? It is often not obvious. Our digital lives are becoming more and more prominent. We are now meeting each other virtually for work and leisure, and are spotted and traced without our knowledge, both in physical places (public areas and streets) and in virtual spaces. Technology is developing rapidly and policy makers are not able to keep up, resulting in unknown threats for citizens in modern society. Moreover, technology can lead to inequality and exclusion, as demonstrated in the Dutch childcare benefits scandal. The aim of the Inholland Digital Rights Research Team, co-founded by Professors Wina Smeenk, Ander de Keijzer and Ben Wagner, is to focus their work on the social, economic, cultural, communication, design and technological elements that can lead to a digitally responsible society. This means that we want to be part of the debate and research on how technology in our digital age can contribute to the quality of peoples’ lives: how can people benefit from the digital society and how are they hindered, or even worse, excluded from partaking in our digital society. We do this in our research lines, as well as in the sustainable media lab courses and the data-driven minor.
BOEK
Design schools in digital media and interaction design face the challenge of integrating recent artificial intelligence (AI) advancements into their curriculum. To address this, curricula must teach students to design both "with" and "for" AI. This paper addresses how designing for AI differs from designing for other novel technologies that have entered interaction design education. Future digital designers must develop new solution repertoires for intelligent systems. The paper discusses preparing students for these challenges, suggesting that design schools must choose between a lightweight and heavyweight approach toward the design of AI. The lightweight approach prioritises designing front-end AI applications, focusing on user interfaces, interactions, and immediate user experience impact. This requires adeptness in designing for evolving mental models and ethical considerations but is disconnected from a deep technological understanding of the inner workings of AI. The heavyweight approach emphasises conceptual AI application design, involving users, altering design processes, and fostering responsible practices. While it requires basic technological understanding, the specific knowledge needed for students remains uncertain. The paper compares these approaches, discussing their complementarity.
CONFERENTIEBIJDRAGE
The short-term aim of this R&D project (financed by the Centre of Expertise Creative Industries) is to develop a virtually simulated textile database that renders 3D visual representations of these fabrics. The idea is for this database to be open source and be able to interface with 3D design applications such as those of Lectra. The textile database will include a number of different digital datasets per textile that contain information about the fabric’s drape, weight, flexibility etc., to virtually render prototypes in a 3D simulated environment. As such, in building garments via a 3D software design application, designers will be able to see how a garment changes as new textiles are applied, and how textiles behave when constructed as different garments. This will take place on 3D avatars, which may be bespoke body scans, and will allow for coordinated and precise fitting and grading.
RAPPORT
Digital services are becoming the default way to access public information, pursue an education, get healthcare, and engage in civic life. Yet for millions of people, these services remain frustrating to use or completely inaccessible. Legal frameworks such as the European Accessibility Act (EAA) and WCAG guidelines provide important baselines for digital access, but they often emphasise technical compliance. This dynamic focuses on reduced accessibility to a late-stage checklist item rather than serving as a guiding principle of inclusive design that accounts for the diversity of users from the outset. The Digital Inclusion by Design project emerged from this tension. Funded by the Nationaal Regieorgaan Praktijkgericht Onderzoek SIA (KIEM scheme), it brought together researchers, students, UX agencies, and public organisations to investigate systemic barriers that prevent design teams from creating digital services that are both accessible and inclusive of all users. Working across three contexts design education, professional UX practice, and civic co-creation — we identified recurring points of failure, shared insights, and prototyped new tools and strategies to overcome challenges. Our central research question was: What prevents design teams from achieving truly inclusive and accessible digital services—and how can we support systemic change in everyday design practices?
BOEKDEEL
Technological developments go fast and are interrelated and multi-interpretable. As consumer needs change, the technological possibilities to meet those needs are constantly evolving and new technology providers introduce new disruptive business models. This makes it difficult to predict what the world of tomorrow will look like for an organization and that makes the risks for organizations substantial. In this context, it is difficult for organizations to determine what constitutes a good strategy to adopt digital developments. This paper describes a first step of a study with the objective to design a method for organizations to formulate a future-proof strategy in a rapidly changing, complex and ambiguous context. More specifically, this paper describes the results of a sequence of three focus groups that were held with a group of eight experts, with extensive experience as members of the decision making unit in organizations. The objectives of these sessions were to determine possible solutions for the outlined challenge in order to provide direction for continuation and scoping of the following research phases.
CONFERENTIEBIJDRAGE
In this paper we explore the influence of the physical and social environment (the design space) son the formation of shared understanding in multidisciplinary design teams. We concentrate on the creative design meeting as a microenvironment for studying processes of design communication. Our applied research context entails the design of mixed physical–digital interactive systems supporting design meetings. Informed by theories of embodiment that have recently gained interest in cognitive science, we focus on the role of interactive “traces,” representational artifacts both created and used by participants as scaffolds for creating shared understanding. Our research through design approach resulted in two prototypes that form two concrete proposals of how the environment may scaffold shared understanding in design meetings. In several user studies we observed users working with our systems in natural contexts. Our analysis reveals how an ensemble of ongoing social as well as physical interactions, scaffolded by the interactive environment, grounds the formation of shared understanding in teams. We discuss implications for designing collaborative tools and for design communication theory in general.
ARTIKEL
In the aftermath of the systemic financial crises of 2007-9, several scholars argued that the problem of systemic financial crises is not well understood. At the same time, the introduction of digital technologies led to new threats and opportunities for the design of the monetary and financial system. For example, thousands of private cryptocurrencies have been implemented and hundreds of research papers on the (possible) introduction of public digital currencies have been published. It is often not explained why these new forms of digital money are needed and which (systemic) problems they (can) solve. In addition, the literature does not provide requirements nor guidelines to shape the development of the monetary and financial system in the digital age. This thesis applies design science to the monetary and financial system as a whole. The application of this novel methodology offers new possibilities to examine this complex system. The contribution of this thesis is threefold. First, different theories on money, banking and systemic financial crises have been researched through an extensive literature review and balance sheets. Second, those theories have been used to develop design requirements and guidelines. Finally, the consensus and pivotal dissensions about the systemic problem(s) of the current monetary and financial system, requirements and guidelines among experts have been identified through semistructured interviews. This research process results in widely supported requirements that demarcate the design space and widely supported guidelines that aim to give direction within the design space, that is, to the future development of the monetary and financial system.
PROEFSCHRIFT
Aim: There is often a gap between the ideal of involving older persons iteratively throughout the design process of digital technology, and actual practice. Until now, the lens of ageism has not been applied to address this gap. The goals of this study were: to voice the perspectives and experiences of older persons who participated in co-designing regarding the design process; their perceived role in co-designing and intergenerational interaction with the designers; and apparent manifestations of ageism that potentially influence the design of digital technology. Methods: Twenty-one older persons participated in three focus groups. Five themes were identified using thematic analysis which combined a critical ageism ‘lens’ deductive approach and an inductive approach. Results: Ageism was experienced by participants in their daily lives and interactions with the designers during the design process. Negative images of ageing were pointed out as a potential influencing factor on design decisions. Nevertheless, positive experiences of inclusive design pointed out the importance of “partnership” in the design process. Participants defined the “ultimate partnership” in co-designing as processes in which they were involved from the beginning, iteratively, in a participatory approach. Such processes were perceived as leading to successful design outcomes, which they would like to use, and reduced intergenerational tension. Conclusions: This study highlights the potential role of ageism as a detrimental factor in how digital technologies are designed. Viewing older persons as partners in co-designing and aspiring to more inclusive design processes may promote designing technologies that are needed, wanted and used.
ARTIKEL
