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Pluriversal Design

Pluriversal Design

Challenge the dominant, universal approaches to design, those that prioritises Western, modernist, and industrialised perspectives and shifting the focus to coexistences of multiple worlds, ways of knowing, and lifeways.

“The notion of OWW [One-World World] signals the predominant idea in the West that we all live within a single world, made up of one underlying reality (one nature) and many cultures. This imperialistic notion supposes the West’s ability to arrogate for itself the right to be ‘the world,’ …”

What is it?

What is it?

Pluriveral Design is a design approach that recognises and embraces multiple worldviews, knowledge systems, and lifways beyond those of the dominant, Western, and industrialised. Coined in conversation with movements such as decolonisation, Pluriversal Design rejects one-size-fits-all solutions. It invites designers to design with, not for, communities and systems.

Why Pluriversal Design?

Why Pluriversal Design?

Pluriversal Design critiques the "universal" approach to design for being inadequate and harmful to the world. Modernist design paradigm often carries the global north's assumptions that progress is linear, technology solves all the problem, and one can design for the user as an reductionist abstract figure. It is this paradigm that Tony Fry calls "defuturing" that the Pluriversal Design aims to challenge.


Arturo Escobar, one of the most prominent thinkers of Pluriversal Design, argues that the modernist design's obsession with functionality, profit, and the unilinear definition of progress has led us to the overproduction and consumption. By deconstructing dominant paradigms and valuing multiple perspectives, Pluriversal Design offers a path towards the futures beyond the failing status quo. It is truly an approach that offers fresh perspectives and imagination to overcome issues that require unconventional paths.

Foundations

Foundations

Decolonisation

Decolonial theory offers one of the most important intellectual foundations for pluriversal design. Emerging primarily from Latin American scholars like Walter Mignolo, Aníbal Quijano, and Arturo Escobar, decolonial thought critiques how modernity and coloniality are inseparable. The “colonial matrix of power” continues to shape knowledge, governance, economies, and design by positioning Eurocentric norms as universal. Pluriversal design draws from this critique to resist dominant, Western-centric models of progress, development, and design thinking. Instead of exporting solutions to “underdeveloped” contexts, it seeks to amplify local epistemologies and lived realities. This is not about adding diversity to design, it’s about delinking from modernity as the sole frame of reference and recognising multiple coexisting world realities.

Indigenous knowledge

Indigenous worldviews and design practices offer profound alternatives to Western modes of design. In many Indigenous cosmologies, design is not a neutral act, it is spiritual, relational, and embedded in reciprocal responsibilities to land, ancestors, and non-human beings. Knowledge is often passed through story, ritual, community practice, and direct engagement with place. Pluriversal design draws inspiration from these traditions by centring relationships over objects, interdependence over individualism, and long-term ecological balance over short-term gains. Rather than universalising solutions, Indigenous frameworks value what is place-based, contextual, and culturally held. These ways of knowing challenge the myth of the expert designer and shift design into a form of stewardship, listening, and care.

Political ontology

Political ontology, as developed by scholars like Mario Blaser, explores how different communities do not simply perceive the world differently, they enact different worlds. These aren’t multiple perspectives on one reality, but multiple realities in action. Pluriversal design builds on this idea: it argues that no single worldview should dominate how we define problems or imagine futures. Mainstream design often enforces ontological closure which flattens difference into a single system. Political ontology resists this by emphasising ontological plurality or a “pluriverse” where many lifeways, cosmologies, and systems of meaning can coexist. In design, this means letting go of one-size-fits-all frameworks and embracing plural paths, especially those historically excluded or erased by modernist, colonial, or capitalist logics.

Postdevelopment and Buen Vivir

Postdevelopment theory challenges the assumption that all societies must follow a Western trajectory of industrialisation, consumption, and GDP growth. Scholars in postdevelopment argue that “development” often masks neocolonial agendas and imposes alien logics on local communities. In response, alternatives that rooted in Indigenous Andean worldviews like Buen Vivir (Good Living) prioritise balance with nature, communal well-being, and spiritual connection over material accumulation. Pluriversal design integrates these critiques by rejecting economic growth as a default design goal. Instead, it supports projects rooted in care, autonomy, and cultural vitality. Design becomes a way to support local lifeways and resist extractive development, rather than a tool for assimilating people into the global market system.

Critical and participatory design

Though grounded in the Global North, critical and participatory design traditions provide useful tools for pluriversal design. Thinkers like Tony Fry, Ezio Manzini, and Pelle Ehn have long emphasised that design is not just about objects. It is a political, social, and ethical practice. Critical design questions assumptions embedded in technologies and systems, often using fiction or provocation. Participatory design values democratic co-creation. Pluriversal design goes further by questioning who is invited into these participatory spaces, whose knowledge is recognised, and whose realities are prioritised. These traditions help pluriversal designers build platforms where communities shape their own futures, rather than being “included” in someone else’s vision.

Critique of Modernism

Modernist design (early-to-mid 20th century) was deeply tied to the modernity project which believed in progress, industry, and the human's power to engineer a future. Degrowth offers a critical counterpoint by questioning the excess of rationalisation, commodification, and ecological domination. Though Degrowth appreciates the gains of Modernism in human rights and scientific knowledge, it rejects the coupling of progress with exponential growth.


Life-Centered Design

While Human-centred design has yielded many improvements, degrowth thinkers would argue that an exclusive focus on the human user can blind design to broader ecological and ethical concerns. Degrowth designers call for empathy to non-humans and future generations. "Design in general should shake the dominance of human-centredness in theory and practice as it is a necessary foundation but too anthropocentric to lead design practice into the future on its own. Design for sustainability transitions should develop ways to give voice to voiceless." Degrowth emphasises shifting to life-centred or planet-centred design where the "user" is not just consumers but the ecosystem.


Appropriate Technology


“Is this technology necessary? Whom does it empower? What are its hidden costs?”


In recent years, the attitude towards design and policy has been grounded in the beliefs that new technologies will solve social and environmental problems, the so-called "techno-solutionism." Degrowth invokes the return to appropriate technology, a concept refined by E.F. Schumacher and Ivan Illich, which is the technology that are small-scale, low-energy, locally-controllable and aligned with well-beings and ecological contexts.


Prosperity and Desire

One underpinning of degrowth is the redefinition of what the "good life" means. Modern design has become preoccupied with creating and shaping people's desire for consumption. Degrowth urges designers to reimagine prosperity and focus on the values to the well-being of the people and community.

Critique of Modernism

Modernist design (early-to-mid 20th century) was deeply tied to the modernity project which believed in progress, industry, and the human's power to engineer a future. Degrowth offers a critical counterpoint by questioning the excess of rationalisation, commodification, and ecological domination. Though Degrowth appreciates the gains of Modernism in human rights and scientific knowledge, it rejects the coupling of progress with exponential growth.


Life-Centered Design

While Human-centred design has yielded many improvements, degrowth thinkers would argue that an exclusive focus on the human user can blind design to broader ecological and ethical concerns. Degrowth designers call for empathy to non-humans and future generations. "Design in general should shake the dominance of human-centredness in theory and practice as it is a necessary foundation but too anthropocentric to lead design practice into the future on its own. Design for sustainability transitions should develop ways to give voice to voiceless." Degrowth emphasises shifting to life-centred or planet-centred design where the "user" is not just consumers but the ecosystem.


Appropriate Technology


“Is this technology necessary? Whom does it empower? What are its hidden costs?”


In recent years, the attitude towards design and policy has been grounded in the beliefs that new technologies will solve social and environmental problems, the so-called "techno-solutionism." Degrowth invokes the return to appropriate technology, a concept refined by E.F. Schumacher and Ivan Illich, which is the technology that are small-scale, low-energy, locally-controllable and aligned with well-beings and ecological contexts.


Prosperity and Desire


One underpinning of degrowth is the redefinition of what the "good life" means. Modern design has become preoccupied with creating and shaping people's desire for consumption. Degrowth urges designers to reimagine prosperity and focus on the values to the well-being of the people and community.

Before the work: Three things to unlearn

Before the work: Three things to unlearn

Though practicing Pluriversal Design cannot be generalised into steps, we can start by unlearning the following:

Designers as experts

In Pluriversal Design, expertise is not held by the designer alone. Instead of arriving with answers, the designer must be open to being taught, changed, or even made irrelevant. This unlearning urges designers to let go of control and embrace uncertainty. It values lived experience, ancestral knowledge, and relational intelligence over technical mastery. Expertise becomes shared, distributed, and sometimes invisible. Knowledge emerges in community through time and not always in ways that can be captured or formalised.

In Pluriversal Design, expertise is not held by the designer alone. Instead of arriving with answers, the designer must be open to being taught, changed, or even made irrelevant. This unlearning urges designers to let go of control and embrace uncertainty. It values lived experience, ancestral knowledge, and relational intelligence over technical mastery. Expertise becomes shared, distributed, and sometimes invisible. Knowledge emerges in community through time and not always in ways that can be captured or formalised.

Problems are universal

Pluriversal Design challenges the idea that every challenge must be framed as a “problem” to be fixed. What appears problematic from a modern, external perspective may be an expression of a different logic, which might be in the real of the spiritual, ecological, or relational. Some conditions call for stewardship, not intervention. Unlearning this means resisting the impulse to define the situation and instead learning to witness, wait, and ask what care might look like.

Pluriversal Design challenges the idea that every challenge must be framed as a “problem” to be fixed. What appears problematic from a modern, external perspective may be an expression of a different logic, which might be in the real of the spiritual, ecological, or relational. Some conditions call for stewardship, not intervention. Unlearning this means resisting the impulse to define the situation and instead learning to witness, wait, and ask what care might look like.

All knowledge is designable

Not all knowledge needs to be turned into a workshop output or a framework. In many communities, meaning lives in stories, rituals, landscapes, or symbols. Trying to capture or translate it into design terms can flatten or harm what was shared. Unlearning this impulse means practicing design restraint by recognising that not everything needs to be mapped, visualised, or made actionable. Some insights are meant to inform being, not doing. Respecting opacity is part of ethical design.

Not all knowledge needs to be turned into a workshop output or a framework. In many communities, meaning lives in stories, rituals, landscapes, or symbols. Trying to capture or translate it into design terms can flatten or harm what was shared. Unlearning this impulse means practicing design restraint by recognising that not everything needs to be mapped, visualised, or made actionable. Some insights are meant to inform being, not doing. Respecting opacity is part of ethical design.

Design principles

Design principles

1

Cultivating radical empathy

Deeply understand and value different perspectives, especially those of marginalised communities by actively listening, self-reflecting, and engaging with a willingness to be transformed by others' experiences. Radical empathy requires creating safe spaces for open dialogue and building authentic trust among all participants.

2

Radical (re)imagination and delinking

Imagine alternative futures by questioning and detaching from dominant narratives and systems. This process involves unlearning established concepts and exploring new possibilities that honor diverse cultural and social realities.

3

Encouraging physical encounters

Direct, in-person interactions are vital for building relationships and understanding across different communities. These encounters help bridge gaps between worldviews and foster mutual respect and collaboration.

4

Utilising mapping, visual thinking, and bodily expressions

Visual and embodied methods help capture and communicate the richness of different experiences and knowledge systems. These approaches can reveal hidden connections and foster a more holistic understanding of complex issues.

5

Embracing participatory approach

Pluriversal design prioritises collaboration and co-creation with communities. By involving stakeholders throughout the design process, it ensures that diverse voices are heard and respected, leading to more inclusive and context-sensitive outcomes.

6

Harnessing knowledge

Recognise and integrate multiple forms of knowledge, including Indigenous, local, and experiential insights. Challenge the dominance of Western epistemologies and promotes a more equitable exchange of ideas.

7

Employing narratives

Storytelling is a powerful tool for conveying complex ideas and experiences. By sharing stories, designers can highlight diverse perspectives, challenge dominant discourses, and promote empathy and understanding.

Have experience with this method?

Have experience with this method?

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