Ikki Kawanishi, Japan
Danielle Statham, Australia
Francesca Baur, UK
Charline Lalanne, France
Bruna Cerasi, Brazil,
Laura Middlehurst, UK
Aly Tobin, UK
Karoline von Igel, Indonesia
Hannah Ogahara, UK
Quoi Alexander, Japan
Bonnie Carr, UK
Susanna-Mei Casuncad, UK
Mark Hester, UK
Lucy Mitchell, UK
Maki Obara, USA
Sherry Perrault, Canada
Ines Quinones Fabregas, Spain
Kristen Robb, Ireland
Marcell Csillag, Hungary
Olga Glagoleva, Russia
Charlie Whinney, UK
Tom Whiteley, UK
Anouska Anquetil, UK
James Harlow, UK
Sofie Keller, Denmark
Sami Kimberley, UK
Tom Longmate, Norway
Chaoyi Lu, China
Louise McArthur, UK
Sarah Muir-Smith, Australia
Daniel Pezzutti, UK
Gabriella Rhodes, UK
Lesley Roberts, USA
Lizzie Shupak Mandeno, New Zealand
Simone Suss, UK
You can view all the films made by our graduates on our MARD YouTube.
Please click here for direct access to the full length films.
Anouska Anquetil, UK
51°28'19.9"
N 0°09’55.1”W
THE ANCESTRAL CODE™
Regenerative Futures + Experiential Design
anouska@aterre.co.uk
@aterre_studio
Kin-centred activations that bring relational thinking into a linear construct, creating a reparative third space for Kinship. A portal to a future based on shared Ancestral Codes that are more ethical and sympoetic than modern governance, culture or mindset.
The Ancestral Code™ provides a vehicle to tap into principles of Kinship, Mutuality and Ancestrality, thus giving us more agency over our life choices. It is a transformational initiation designed specifically for westernised individuals.Raising a movement of Ethical Stewards from the ground up pledging to STAND WITH KIN!
James Harlow, UK
51.456°N 0.301°W
WITNESS BEYOND REPAIR: Post-Restorative Spatiality and the Economy of Grief
Environmental Art & Material Ecology
www.jamesharlow.com
@jamesharlowart
Regenerative design often assumes that damaged ecosystems can be restored through engineering interventions. Witness Beyond Repair challenges this assumption. Developed over 14 months of coastal fieldwork across the UK, this research examines the irreversible degradation of a living shoreline and its transformation into systems of documentation, preservation and digital representation.
The work identifies a preservation paradox: the moisture, organic matter and decay that define a living ecology are the very elements that institutional archives must remove to 'preserve' it. Through the use of taped macroalgae specimens, light-sensitive cyanotypes and time-based optical capture, Witness Beyond Repair constructs a taxonomy of loss. Archival preservation necessitates the extraction and irreversible transformation of living ecologies into residual forms.
Rather than perpetuating the illusion of restoration, the practice proposes a design approach based on approximation. The conceptual boundaries of the archive are inherently limited and any attempt at comprehensive documentation will inevitably be incomplete. In recognising the impossibility of a perfect record, the work calls for designers to engage with loss directly, urging new forms of care and responsibility as we bear witness to what disappears.
Sofie Keller, DK
55°41'15.1"N 12°33’52.2"E
READING HOOFPRINTS : TRANSHUMANCE PASTORALISM AS A REGENERATIVE PRACTICE OF CARE
Design Research, Environmental Education, Ecological Art & Design
sofiekeller-studio@outlook.com
@sofie__keller
sofiekeller.org
Developed through fieldwork with shepherds on the West Jutland heathlands in Denmark and in the Austrian Alps, the project investigates how knowledge emerges through embodied engagement with land, animals, weather, and multispecies entanglements.
Reading Hoofprints draws on slow attunement: remaining with situations long enough for patterns, tensions, and forms of responsiveness to emerge.
Care is not only the responsibility of tending the flock, but a relational practice formed through movement and observation, that comes together as an embodied field practice. Combining ethnographic methods, photography, material research, and participatory exercises, Reading Hoofprints translates situated pastoral knowledge into a field guide that invites ecological literacy, attentiveness, and more-than-human ways of knowing.
Sami Kimberley, UK
51.481731, -0.016698
OBJECTS OF ECO-CULTURAL DESIGN presents CLAM-CRETE
Multidisciplinary Eco-Culturalist, Creative Director + Regenerative Designer
samikimberley@gmail.com
www.samikimberley.com
The first iteration looks to the Golden Clam, a non-native species present in the Thames since 2004, causing damage to the river ecosystem, both locally and globally.
The project introduces CLAM-CRETE as a solution: a material derived from Golden Clam shells, reimagined as an aggregate replacement within a concrete-adjacent composite, simultaneously alleviating the need for harmful sand extraction. Material experiments began with a cement-and-shell mix, before exploring alternatives in which cement was replaced with sodium alginate, derived from seaweed, or lime mortar made from limestone.
The project culminates in three objects scaled to varying cultural-ecological contexts: a brick, for sites of abundance with existing removal; an ornament, crafted from hand-collected shells; and a chopstick holder, made from discarded foreshore shells as a means of community engagement.
Tom Longmate, NOR
58°09'36.7"N 7°59'32.3"E
FLUMEN LABS
In memory of our dear friend and MARD cohort member Tom Longmate 1977 - 2026 Your work with Flumen labs will continue to flourish
Trans-disciplinary
Research Collective
@flumenlabs_
Flumen labs worked with the communities, human and nonhuman, connected to the river Otra in Kristiansand, Norway, developing new approaches, applications, and modes of stewardship rooted in ecological reciprocity and long-term care.
By engaging with seasonal rhythms, water ecologies, and more-than-human perspectives, the project seeks to develop practices that support resilience, restoration, and coexistence in the face of environmental change.
“Though the Earth provides us with all that we need, we have created a consumption-driven economy that asks, 'What more can we take from the Earth?' and almost never asks 'What does the Earth ask of us in return? Nature asks us to give back, in reciprocity, for what we have been given... through gratitude, through ceremony, through land stewardship, science, art, and in everyday acts of practical reverence. Reciprocity is rooted in the understanding that we are not alone, that the Earth is populated by non-human persons, wise and inventive beings deserving of our respect.” (Robin Wall Kimmerer)
Chaoyi Lu, CN
29.2687° N, 117.1784° E
THE ROOF THAT GROWS,
REGENERATIVE CERAMIC HABITATS FOR MORE-THAN-HUMAN CITIES
Regenerative Design, Material Ecologies and Multispecies Futures
963989662@qq.com
@chaoyi.lu
Developed through material experimentation in Jingdezhen, China, the project combines traditional ceramic knowledge with agricultural waste materials including rice straw and rice husks. During firing, the organic matter burns away to create porous structures that retain moisture and provide shelter for mosses, insects, pollinators and small bird species. Over time, the roof becomes a living ecological infrastructure capable of supporting biological succession and habitat formation.
Rather than treating buildings as static objects, Living Roofs reimagines architecture as an evolving ecological participant. The project offers an alternative model for urban regeneration, one that extends the lifespan of existing environments while creating opportunities for biodiversity, climate resilience and reciprocal relationships between people, materials and the wider living world.
Louise McArthur, UK
53.537° N, 0.970° W
I AM THE PEATLAND. Conditions of Making Shaped Within an Extracted Landscape.
Winner of the Maison/0 Green Trail Award
Flax-centred Material Practice
louise@louisemcarthur.com
www.louisemcarthur.com
The project responds to the transformation of the Humberhead Levels from wetland ecosystem to drained agricultural land, where flax was historically cultivated following the extraction of peatland ecologies. Rather than using flax as commodity, the work repositions the fibre as a material witness carrying layered histories of labour, loss, regeneration and care.
Through sculptural garment-making, natural dye processes and material experimentation, the installation develops slow, situated and materially responsive methods that foreground touch, time and ecological accountability. The work invites viewers to encounter regeneration not as solution-driven design, but as an embodied relationship between landscape, material and maker
Artefact made in collaboration with: Soil, sun, rain, microbes, flax fibre, weld, woad, madder, oak galls, peatland ecologies and time.
Sarah Muir-Smith, AUS
50.9977° N, 0.1036° W
FROM PLACE,
FOR PLACE
Material practice for multispecies commoning
Nominated for Maison/0 Green Trail Award
Material Practice, Facilitation and Ecological Design
hello@snakebirddesigns.com
www.snakebirddesigns.com
Habitat fragmentation through land clearing, introduced species and pollution are among some of the challenges facing the wildlife in this urban ecology. Through collaboration with landcare organisations, ecologists, and local council, habitat augmentation structures were designed and developed that transform abundant plant material through simple basketry techniques into beneficial structures for shelter, nesting and breeding.
The project culminated in 19 craft workshops to evoke the ecological self by activating the five pathways to nature-connectedness (beauty, sensory contact, meaning and metaphor, emotional connection and caring for nature.) Using “weeds”, green “waste” and plants of abundance, community members handmade over 30 habitat augmentation structures in workshops to support native pollinators, native fish and small woodland birds, each contributing to broader systems health.
Daniel Pezzutti, UK
50.9977° N, 0.1036° W
WHEN THE LAND DECIDES WHAT WE BUY
Service Design
danpezzutti@gmail.com
This project explores how ecological systems might actively participate in decision-making. The More-Than-Human Journey maps the experiences of humans, pollinators, songbirds, and cattle across a shared landscape, revealing relationships that are often overlooked.
Exis extends traditional design personas beyond human users, enabling species, organisms, and ecological processes to be considered as stakeholders within a system.
Together, these tools challenge human-centred approaches to service design and ask what might change if ecological needs were given greater influence.
Rather than treating nature as background context, the project positions the living world as an active participant in shaping how services, organisations, and systems operate.
Gabriella Rhodes, UK
52.9265732513857, -4.429866259556574
THINK LIKE A MOUNTAIN FIELD NOTES FROM A SHIFTING COASTLINE
Nominated for the CSM
Re-generating Creativity Graduate Award
Site-responsive Craft
and Material Ecologies
ecologiesstudio@gabriellarhodes.com
www.gabriellarhodes.com
The work explores erosion not solely as loss, but as an opportunity for attention, relation and knowledge-making within rapidly changing coastal systems.
Working with erosion-exposed clays formed through Late Devensian glaciation, the project understands clay not as a passive resource, but as an active participant in ecological, geological and cultural systems. Coastal erosion and storm-driven processes continually expose these deposits, simultaneously affecting habitats and species while reshaping human relationships with land.
Drawing on vernacular clom earth-building traditions, the work develops sculptural forms, moving image and a digital field guide as ways of reading landscape through material encounter.
Across these outputs, craft operates as a relational, post-extractive practice, where sediment movement, cliff instability and ecological emergence are treated as interlinked processes that continually remake place.
Lesley Roberts, US
34°01'16.03" N
118°23'47.29" W
A HAPTIC ATLAS OF THE MATERIAL AND SENSUOUS BIOREGION
Nominated for the CSM
Re-generating Creativity Graduate Award
Social Practice Artist, Strategist & Researcher
lesley@materialencounters.art
www.materialencounters.art
The Atlas currently manifests as a carrier bag that presents as a website, a material artefact that presents as a not-coat, oral and written text and social happenings that present as a curriculum, and a visual lexicon that presents as a short film and photo essays.
A Haptic Atlas is a shape shifter, a plenitude that elicits behaviour change and encourages alternative world-building. It is a compendium of landscapes through which the traveler (re)discovers the terrains of self and world.
Artefact: You Must See How This Could Be You: A Not-Coat,
2026, Wool from Rancho Grande, Ojai, California, water, soap, marigold, chamomile, various seeds, hairy vetch, sweet pea, flax, lavender (title courtesy of Naomi Shihab Nye’s poem Kindness)
A Not-Coat is an artefact-as-portal into a Haptic Atlas, as evocation of place, home, shelter, relationship. Methods: wet felting, needle felting, community engagement, research-creation, place-based research
Lizzie Shupak Mandeno, NZ
35.644 S, 174.301 E
RESTOR(Y)ING RELATIONS IN A TIME OF RUPTURE
Facilitation, Relational Design, Participatory Methods, Systems Innovation
lizzie@othercoloursthanreason.com
@lizzieshupak
The project takes poetry seriously as a method.
Through place-based fieldwork and 65 poems, rooted in the Tai Tokerau landscape, it explores how language can shift attention, widen what (and who), counts in decision-making, and turn overwhelm into next-right-actions.
This enquiry culminated in Restor(y)ing Relations, a deliberately LoFi paper-based fieldkit. It includes Fieldwork poems, Attend cards, Shift cards and a facilitator record, designed to be used solo or in groups in as little as 15 minutes.
Testing across diverse participants suggests the ritual reliably produces shifts in language, stakeholder awareness and place-based action, supporting new ways of sensing, relating and “making life” in uncertain times.
Simone Suss, UK
51°33′37″N 0°9′39″W
REGENERATIVE INTERIOR DESIGN: FROM DECLARATION TO ACTION
Interior Designer, Regenerative Consultant and Industry Activist
simone@studiosuss.com
www.studiosuss.com
Interior designers make hundreds of specifying decisions on every project. These decisions are usually based on aesthetics, function and price, rarely considering the impact on living systems. We have a responsibility as designers, using our agency, to make more thoughtful choices; ones that enhance the ecosystems we inhabit.
Through conversations with local makers, manufacturers, policy makers and campaigners, combined with international research and observation, the result is three interconnected outputs. An accessible Regenerative Interior Design Framework any designer can use, which has informed a revised set of Actionable Pledges for Interior Design Declares, and a Regenerative Room in Little Venice where every specification has a traceable story.
The work is already informing industry action and is the start of an adaptable, evolving regenerative community, designed to live beyond its creator.
Quoi Alexander, JP
35.6764° N, 139.6500° E
BeingCraft, keystone ontologies of the Kunasaki Peninsula
Winner of the Green Trail Awards LVMH Maison/0
In collaboration with elders, farmers, craftspeople, and non-human partners, the project functions both as documentation and as transformation, showing craft as a keystone for rethinking how we live, make, and relate. Through hybrid methodologies, seasonal rituals, and experimental materials, the work proposes new models for design education, regenerative fashion, and bioregional futures.
full length film
Bonnie Carr, UK
51.5072° N, 0.1276° W
Reaching Fashion’s Symbiocene
This project was nominated for the Green Trail Awards LVMH Maison/0
With non-toxic material innovation set to accelerate substantially by 2030, we have an opportunity to create symbiotic systems which allow us to design, manufacture, wear and regenerate Fashion with local ‘textile reincarnation’ front of mind.
full length film
Susanna-Mei Casuncad, UK
51.0153° N, 3.1068° W
The Apprenticeship in Localness
Craft, when connected to place through apprenticeship, is a tacit learning methodology that is used to connect humans to biodiversity in locality; to understand localness. Designing for biodiversity in locality will help activate regeneration more broadly. It will reframe how we move through the world and how we care for wider biodiversity.
full length film
Mark Hester, UK
50.9699° N, 0.4160° W
re:Source
This project was nominated for the MullenLowe NOVA Awards for Fresh Creative Talent
At the heart of the project is a Bioreactor that has been designed to grow an edible superfood called Spirulina using urine. re:SOURCE invites people to explore their own relationship with the nutrient cycle by asking them to consider how they feel about food grown with urine.
Would you eat Spirulina grown with your own pee? How about if the urine came from the person standing beside you? These ideas were explored in collaboration with members of the PlusX Innovation Hub in Brighton. In addition to researching notions of social acceptance, the system design required to implement urine recycling at scale was also explored.
full length film
Lucy Mitchell, UK
52.1951° N, 0.1313° E
From the Fens,
with the Fens,
for the Fens.
This project was nominated for the Graduate Awards
‘From the Fens, With the Fens, For the Fens’ uses paper artefacts made from potential paludicultural crops to tell playful stories of interconnection and changing values, whilst demonstrating the potential commercial properties of these novel crops.
full length film
Maki Obara, US
40.7128° N, 74.0060° W
The C Cosmology
Guided by the teachings of cannabis L. sativa—a plant colonised and criminalised despite sustaining civilisations and air, soil, water for over 15,000 years—we reconnect what has been severed: humans and nature, inner and outer worlds, personal healing and collective liberation. We call this practice Inner-Regeneration. Because to thrive on this planet requires that we unlearn the toxic ways, and remember how to be human again—together, as a species that is part of the biodiversity.
full length film
Sherry Perrault, CA
49.8954° N, 97.1385° W
Prairie Knowledge Holders
We seek to ask, can we reframe passing on generational wealth as passing on generational biodiversity wealth? Where generational extends to include both the human and the more-than-human communities and wealth goes beyond the financial, focusing instead on offering gifts that ensure the health of ecosystems exchanging in mutually beneficial acts of reciprocity.
We learn from the Prairies that diversity helps make healthy lands and bodies so we should incorporate these ways of thinking in our cities and towns with the aim of building ecological roads by gifting seed, sharing knowledge and bringing prairie species across urban borders to shared lands.
full length film
Ines Quinones Fabregas, ES
40.4167° N, 3.7033° W
Lab for Endemic Practices
This project was nominated for the Green Trail Awards LVMH Maison/0
We operate at the intersection of ecology, speculative design, living systems, and hands-on creation. Our work envisions alternative futures that challenge conventional paradigms and foster regenerative possibilities. Through practical making, we translate these concepts into tangible interventions, crafting solutions that are both imaginative and grounded in ecological realities.
full length film
Kristen Robb, IE
53.7798° N, 7.3055° W
The Worthy Earth Rangers
The mission of Worthy Earth Rangers is to create reciprocity between human and non-human neighbours. By collaborating with non-human neighbours in an informed, creative and productive way, we foster care and connection.
full length film
Marcell Csillag, HU
47.1625° N, 19.5033° E
Fleece, Flora & Fauna
This project was nominated for the Graduate Awards
Fleece, Flora & Fauna addresses the vital role of ancestral pastoral knowledge systems in shaping and preserving local landscapes through the lens of fibres. By exploring the critical issue of underutilized autochthonous wool in Hungary, the project seeks to reveal local capacities and opportunities for synergies to process the fibre in place.
A key focus is to revive and reinvent wool industry through research, design thinking and new modes of production fostering place-based collaborations that promote innovative approaches and preserve traditional practices.
full length film
Olga Glagoleva, RU
55.7646° N, 37.6056° E
Light Sufficiency
Light Sufficiency is a project that blends ecological awareness, material innovation, and social transformation. The Festival of Hope is a performative act created by a community of caring, curious co-creators working in the field of biodiversity restoration. Through partnerships with scientists and artists, Hogweed has been reimagined as a resource for new applications — producing paper, yarn, vodka, and native glass flowers—shifting the narrative from despair to possibility.
full length film
Charlie Whinney, UK
54.3739° N, 2.9376° W
Science for Generation Regeneration
This project will be part of the Windermere Science Festival outreach for schools in 2026. The background for this work has been the development of an academic tool called ‘Reductive Lenses’ which allows students to see trends between different aspects of history and society today - and how these relate or reduce to ‘Regeneration OR Degeneration’.
full length film
Tom Whiteley, UK
51.3781° N, 2.3597° W
Your Human World
Using the human body as a metaphor, this series of illustrations draws parallels between natural systems and the systems within your body.
Water is more than just a substance—it is the essence of life, woven into all natural systems and I see it as a lens through which we can better understand the interdependence of life, nature, and ourselves.
full length film
Ikki Kawanishi, Japan, 35.6764° N, 139.6500° E
PANORAMA, exploring new ecosystems for Textilisation
This project was nominated for the MullenLowe NOVA Awards for Fresh Creative Talent
Panorama Culture uses biochar, made from discarded coniferous and deciduous wood after the completion of a spatial design project, to sequester carbon and improve soil nutrients by burying it in the ground, supporting biodiversity and renewable energy. A prototype biochar fuel cell combines spatial design with ecosystem regeneration, promoting global collaboration and the long-term regeneration of Satoyama’s biodiversity.
full length film
Danielle Statham, Australia, 29° 27’ 51.8796’’ S 149° 50’ 42.3888’’ E
Can Paper heal?
Francesca Baur, Kent, UK, 51.2787° N, 0.5217° E
Inter/twine Collective- An ecosystem connecting food, fibre and communities
This project was nominated for the Green Trail Awards LVMH Maison/0
Through community partnerships and collaborations, we grow dye and fibre plants, promoting biodiversity and healthy soil. Together, we envision a future where textiles are intertwined with nature, nurturing thriving communities and ecosystems.
Charline Lalanne, Paris, France 48.8566° N, 2.3522° E
Office for Planetary Relationships, a new holistic approach to ‘worlding’.
This project was nominated for the Green Trail Awards LVMH Maison/0
To navigate Gaia’s intricate balance through species interdependence, the Office for Planetary Relationships offers guidance to collectively explore the consequences of our decisions within the critical zone. Together, we will map our environment’s cycles across time and space to trace the ripple effects. Our worlding process, a holistic nature’s portrait, aims to bring a fourth dimension to new creative narratives and dialogue.
Bruna Cerasi, Sao Paulo, Brazil, 23.5558° S, 46.6396° W
RIZALAB, connecting with roots to co-create ancestral futures
This project was nominated for the MullenLowe NOVA Awards for Fresh Creative Talent
By bringing root stories to the centre of conversations, RizaLab aims to keep ancestral wisdom alive and remind us of our common shared ground and the importance of growing roots to build agroforestry mindsets and design desirable futures. RizaLab’s approach innovates by mixing roots wisdom and technologies to ideation methods and creative thinking to provoke decolonial exchanges via different formats such as workshops, talks, experiences as a way of amplifying roots voices.
Laura Middlehurst, Margate, UK, 51.3896° N, 1.3868° E
Commoning with The Good Companions: How do you eat yours?
This project was shortlisted & nominated for the Green Trail Awards LVMH Maison/0 and awarded with highly commended
By exploring how climate change can impact island communities, territories, borders, migration, extinction and cultures, TGC showcases a future system that is ecologically restorative with species and humans sharing both common land and common tide. It develops and fosters new rituals, tools and networks of care to aid in the development of new cultures and adaption to changing climates, creating a resillient local ecosystem of solidarity and kin with the more-than-human.
Aly Tobin, London, UK, 55.6761° N, 12.5683° E
WeGENERATION
Players analyse and discuss four possible disruptive scenarios that offer transformation in how we might interact with the fashion industry.
The goal of the game is to work together to create radical solutions that fundamentally alter how we view and engage with textiles and dress in these speculative worlds. To begin to have a regenerating fashion industry the entire system needs to be reconsidered and remodelled. New worlds, new opportunities for complete change.
Karoline von Igel, Bali, Indonesia, 8.4095° S, 115.1889° E
Waterthreads
Waterthreads seeks to raise awareness and confront the colonial violence inflicted upon these rivers, advocating for reconnection and a shift in design practices towards tailored solutions in response to the water crisis.
Hannah Ogahara, London, UK 51.5072° N, 0.1276° W
The Symbiotic Neighbourhood
Local ecosystems are often overshadowed by human infrastructures, but every neighbourhood relies on the healthy symbiosis of supporting healthy environments. Creating clean soil, air, water, and co-living spaces contribute and invest in the future of the neighbourhood and support connection, collaboration and new learning on how human and nature are intertwined.