At Kyoto Institute of Technology’s KYOTO Design Lab, we are hosting a series of five consecutive symposiums to commemorate the 10th anniversary of KYOTO Design Lab. Guided by the slogan “Designing Possible Futures,” we delve into discussions about our potential future as an academic hub for the next generation in the fields of urban planning, design, and architecture.

In May 18th, 2024, we celebrated the inauguration of this series with the Fourth symposium, titled “The Future of Existence – Existence of the Future” held . We are now delighted to share the crux of these discussions.

Introduction
What Is Worldview Design?

This final installment of the symposium series — which has previously explored themes such as Circular Design, Landscape Design, Dynamic Heritage, and Adaptive Design — brings focus to a culminating concept: Worldview Design.

Opening the session, Tomohide Mizuuchi, a meta-design researcher at the Center for the Possible Futures (Design Studies), offered insight into the symposium’s title, “The Future of Existence – Existence of the Future.” He described it as “a phrase that emerged from the process of reflecting on how best to bring this series to a meaningful close — by envisioning the futures we ourselves might inhabit.”

He went on to outline the goals of the discussion:
“To revisit the worldviews that have shaped the themes of the past four symposiums, and to examine the kinds of worldviews that future design and architecture may demand. If it is indeed possible to design new worldviews, what tools, technologies, and attitudes are necessary to bring them into being? We also hope to explore how we might imagine the future of KYOTO Design Lab itself — as a center for research and innovation.”

Reflecting on a Decade of D-lab Projects
Daijiro Mizuno

As part of a reflection on the four previous symposiums, Professor Daijiro Mizuno — who joined Kyoto Institute of Technology in 2019 — looked back on ten years of work at KYOTO Design Lab with the following remarks:

“Over the past decade, KYOTO Design Lab has been investigating what design education and research can offer in response to the deepening crises we face today. The boundaries of design have expanded dramatically, making it increasingly difficult to identify where the core challenges truly lie.

Historically, particularly during the age of modernization, design was often driven by unilateral profit-seeking. But today, we are beginning to ask different questions: How can we cultivate reciprocal and adaptive relationships, as seen in nature and in ‘more-than-human’ perspectives? How can we move toward dynamic equilibrium in systems based on finite resources — such as through the creation of a circular society?

Yet we now live in a world where the line between the natural and the artificial has become so blurred that old frameworks no longer suffice. In this shifting landscape — where even the impossible now feels within reach — we must explore spaces that cut across singular worldviews and open ourselves to multiplicity. We also need to ask: How might we reimagine digital technologies, and shift away from unsustainable paradigms?

The central question we face now is this: How do we design for a pluriverse? How can market economies and technoscience be reoriented to support lives rooted in place and community? Expanding the scope of design from sustainability to regenerativity, and ultimately toward what we might call ‘desirable livability,’ is, I believe, where true innovation lies. If KYOTO Design Lab can continue to serve as a platform for these explorations, I believe that entirely new possibilities will begin to emerge.”

Review
Reflecting on Past Symposiums

Session 1
Circular Design
“Circular Design for System Transitions”

Speakers:
Daijiro Mizuno [Professor, Kyoto Institute of Technology | Design Theory]
Kodama Kanazawa [Curator, Code-a-Machine]
Shinichiro Masui [Producer, Code-a-Machine]

Read the symposium report here.

Reflections on the Symposium – Comments from Daijiro Mizuno

“This symposium, dedicated to the design of a circular economy and society, brought together an incredibly diverse range of discussions. We explored self-sustaining and decentralized resource cycles, the intersection of business and industrial ecology, the potential violence of human intervention in the environment, challenges in talent development and policy design, and the role of circular design within local landscapes. Over the course of three days, perspectives from anthropology, environmental studies, and technology converged, shaping a rich and multifaceted dialogue on circularity and design.”

Guest Session
The Different Approaches of Contemporary Art and Design Toward a Sustainable World

Kanazawa:
“In the world of contemporary art, where I am deeply involved, many works address themes such as environmental change and sustainability. While the language we use may differ, I found it fascinating to see the overlaps between these discussions and the themes explored in this symposium.

As capitalism continues to accelerate, it risks becoming self-perpetuating, consuming the very environment we live in. In such a world, the question becomes: how do we apply the brakes effectively? How can we continue to live while simultaneously halting certain destructive forces? This symposium made me realize that we are all searching for ways to navigate this challenge.”

Mizuno:
“I see. If contemporary art excels at pointing toward desirable directions, then perhaps design’s role is shifting—not to apply the brakes, but to change the course of the road itself.”

Masui:
“I don’t think we’re quite at the point of discussing the broader world just yet, but one question I keep coming back to is this: What kind of individuals are universities trying to cultivate today? Earlier, Mr. Mizuno mentioned the concept of a ‘market economy,’ but I find it difficult to imagine what students are actually striving for as they graduate and step into society.”
Mizuno:
“What I hope to see is a shift toward recognizing discarded resources as valuable once again. I’m deeply interested in how we can foster creative reinterpretation—how we can reshape our own ways of living. In that sense, I believe we need more designers capable of engaging with pluralistic visions of the future, applying design to explore new possibilities in their own contexts.”

Session 2
Landscape Design
“Future of Landscapes”

Speakers:
Masahiro Kinoshita [Associate Professor, Kyoto Institute of Technology | Architectural Design]
Noriko Matsuda [Associate Professor, Kyoto Prefectural University | Architectural & Urban History]

Read the symposium report here.

Reflections on the Symposium – Comments from Masahiro Kinoshita

“To summarize this symposium, one key point is that we must approach landscape design with the understanding that adaptation to climate change is inevitable. Another key point is how we address the gap between landscapes that are historically and culturally remembered and those of the contemporary world, especially in Kyoto. As we design landscapes that adapt to climate change in the future, narrative emerges as a crucial theme. I believe this discussion effectively highlighted that concept.”

Guest Session
Point Cloud Data as a Platform for Visualizing and Optimizing Information

Matsuda:
“I’d like to ask about point cloud data. For example, there was mention of using point cloud data to archive an existing garden. What other possibilities are there for digital archiving of gardens?
If we consider a garden as a valuable patch of soil embedded within the urban landscape, its significance goes beyond just the visual design aspect. I believe there are people beginning to approach the soil within gardens and cities from a new perspective. As these efforts become interconnected, they could potentially transform the environmental dynamics of urban soil, and even impact water circulation systems. If this happens, it could lead to significant changes and offer a way to engage with nature without falling into despair. How can digital technologies and archiving contribute to this process?”

Kinoshita:
“You’re absolutely right that it’s not just about the visual design aspect. By making the invisible visible, we create a situation where more people can engage and understand. Point cloud data becomes a platform for making these invisible elements visible.
A scan essentially consists of a collection of 3D points, each holding information. When displayed visually as a point cloud, each point typically only contains color information in the form of RGB values. However, by adding additional data to these points, we can represent things like temperature distribution or humidity levels. In other words, what was once a static color without a sense of continuity can be visualized as temperature, extending outward from the garden and seamlessly connecting with the same problem space. This is how point cloud data can be used as a tool or platform for design, optimization, and adaptation.”

Session 3
“Dynamic Heritage- New Methodology for Cultural Heritage Preservation”

Speakers:
Makoto Muramoto [Associate Professor, Kyoto Institute of Technology | Architectural Structures & Materials]
Taichi Sunayama [Associate Professor, Kyoto City University of Arts | Artist / Programmer]

Read the symposium report here.

Reflections on the Symposium – Comments from Makoto Muramoto

“The key question we addressed was how to preserve the multi-layered and complex value of cultural heritage over time. During the symposium, we discussed the importance of combining low-tech methods with advanced technologies, as well as the use of digital tools such as robotic arms. We also explored the archiving of craftsmanship, enhancing the synergy between traditional carpentry and modern technology, and various challenges in connecting traditional architecture to the future.”

Guest Session
The Concept of Data Preservation for the Future 100 Years

Muramoto:
“In Japan, when restoring cultural heritage, it is common to dismantle all the components, repair them, and then reassemble the structure. The same approach applies to point cloud scanning: data can either be captured for each component after disassembly or for the entire building, but only its surface is represented. We need to further discuss how to preserve data in a way that integrates well with historical conservation.”
Sunayama:
“I heard from Mr. Kiuchi about a Swiss church where the wooden beams have been bent for years and need to be preserved in their bent form to prevent the building from collapsing. They use 3D scanning to replace the bent materials, demonstrating that digital technology is not just about engineering but also about understanding the very existence of the object itself.
There are often criticisms such as ‘3D scanning is more expensive and labor-intensive than just taking a photo,’ or ‘Measuring and drawing by hand is a well-established skill, so why not just use that method instead?’ From a historical perspective, I’d like to add that when photography was first introduced 100 years ago, people were taking countless trivial photos. However, those photos, which might have seemed insignificant at the time, are incredibly valuable to us today. We can use photographs taken a century ago to predict what the future might have looked like. In the same way, by preserving data using digital technology today, future generations may find that data invaluable in the same way. This is a way of ‘betting on the future,’ so to speak.”

Session 4
Adaptive Design
“Emerging Design, Fabrication and Assembly System focusing on Alternative Ways of Using Timbers”

Speakers:
Toshikatsu Kiuchi [Specially Appointed Associate Professor, Kyoto Institute of Technology / Architectural Design]
Yoshihiro Tanigawa [Lecturer, Kyoto City University of Arts / Philosophy]

Read the symposium report here.

Reflections on the Symposium – Comments from Toshikatsu Kiuchi

“The symposium’s title was Adaptive Design, and we added the subtitle Emerging Design, Fabrication and Assembly System focusing on Alternative Ways of Using Timbers. The concept of adaptive spans across many fields, and often emerges through interdisciplinary perspectives. But by setting a concrete focus—timber construction—we aimed to ground the discussion in a specific industry context, making it easier to examine how the existing industrial base is beginning to adapt to the demands of our time. I believe our guest speakers provided a wide range of alternative examples and valuable insights from diverse angles.

Guest Session
How Can We Appeal to the Desires of the General Public?

Tanigawa: I think “adoption” is essentially a process. Using that word naturally conveys a sense of “moving from the current state to somewhere else.” It carries a temporal nuance of shifting from a starting point to another place, which I think we can agree on. But it’s not always clear what we are adapting to.
Kiuchi: For example, approaches like reusing dismantled timber or renovating existing structures—making small adjustments without drastically changing the original context—are now increasingly recognized as legitimate alternatives to conventional new-build processes. Even within the framework of circular design, these methods are environmentally sound. But at the same time, unless the path of adaptation itself holds a certain appeal, it won’t gain traction. That’s why I think the pursuit of what makes something compelling in the eyes of the present era is also a vital part of adaptation.
Tanigawa: I see. But it’s not enough for just us to recognize that appeal—we need to think about what kind of desire or attraction the general public, or everyday users, will respond to. In a world where everyone is constantly promoting something, how do we make something stand out? Do you have any ideas?
Kiuchi: This is just my sense, but I think it’s important not to rely on a single breakthrough.
Tanigawa: You mean like valuing resource diversity?
Kiuchi: I think it’s important not to get stuck on “This is the one solution.” What interests me is how we can realize adaptation through small, convenient features that can be easily integrated into any context, along with infrastructure-like, self-sustaining, and decentralized technological elements—such as supplementary tools for design, processing, and assembly—that steadily ensure performance. It’s about creating systems that can be reconfigured in various ways. Once we get those components in place, I have a sense that we’ll be able to approach what you just mentioned.

In Closing
Reflections on the Symposium

After reviewing each session, the panelists divided into two groups to discuss the symposium’s overarching theme: Worldview Design. The following are closing remarks from the panelists, each offering insights into Worldview Design from their own perspectives:

Kiuchi:
“When designers think about creating systems or relationships formed by the interconnection of individual elements, a key question becomes: how do we re-edit what already exists in the world?”

Yamazaki:
“Rather than settling into the pursuit of a pluriversal worldview, we must continue to put it into practice. I hope to keep creating spaces like this in order to shift the resolution at which we engage with the issues we face.”

Matsuda:
“One of the challenges is that we still don’t see clearly what gently connects diverse activities. How do we coexist without exclusion, with many actors and initiatives linked in loose association? Finding a path toward that coexistence is a major undertaking.”

Mizuno:
“Rather than trying to stop actions that impact the environment, what’s important is recognizing the overlooked systems of meaning—those deemed external or worthless—and figuring out how to take action with them.”

Kanazawa:
“It’s about connecting the invisible, the multiplying communities, and the singular occurrences. Even if we don’t fully ‘understand’ something, over time these connections accumulate and eventually reflect in what we’re trying to do.”

Masui:
“If we can connect islands without set routes and explore them deeply, perhaps that very act could become what is considered ‘new’ in the world.”

Sunayama:
“Explaining when and how a factor came into play is more important than presenting problem-solving as an output. Furthermore, the way a factor moves within a project and the values it holds becomes, in itself, a form of sharing a worldview.”

Tanigawa:
“When connecting various points, what becomes essential is the exemplar. Rather than staying in the realm of abstract suggestions like know-how or perspectives, the question is whether we can present concrete exemplars as typical cases.”

With the conclusion of this symposium, KYOTO Design Lab begins its 11th year in 2025, stepping into a new phase of its continued journey.