What is EXPRESSO Summer School?
The EXPRESSO Summer School is a unique international gathering that brings together students, PhD candidates, and experts who share an interest in experience design and research. Every two years, participants meet in a new part of the world to learn, exchange ideas, and build lasting networks.
The summer school is all about collaboration and inspiration. Experts from the EXPRESSO community share their knowledge and real-world experience with the next generation, while participants get the chance to explore new perspectives, develop skills, and connect across cultures. By combining learning with an inclusive and welcoming atmosphere, the EXPRESSO Summer School helps shape a vibrant international community for experience research and practice.
Experts & Lectures
Zhang Linghao
President of the Jiangsu Provincial Steering Committee for Graduate Education in Arts / President, Professor, and Doctoral Supervisor at Nanjing University of the Arts
President Zhang Linghao’s lecture focused on regional systemic innovation. He explored the direction, pathways, key points, and challenges of transformational design in the new era from multiple dimensions, explaining how design can respond to real-world needs and create new value through creative thinking. By analyzing the different focal points across three stages of the “New Rural Construction,” he revealed the contemporary nature of complex system-based social innovation for local communities and rural development in terms of economy, ecology, and society. He emphasized that transformational design should be for the environment, for development, for culture, and for community well-being. This process requires building a new methodological system to accurately grasp the intervention points and implementation difficulties for different design objects and to propose effective regional systemic innovation strategies. He concluded by calling for design to be fundamentally oriented towards positive change and new possibilities.
Annemiek van Boeijen
Assistant Professor / Doctoral Supervisor, Faculty of Industrial Design Engineering, Delft University of Technology
Annemiek van Boeijen focused on the concept of culture, its implications in design, and the importance of cultural sensitivity. She discussed topics including the definition of culture, cultural identity, the impact of globalization, and the application of cultural sensitivity in the design field, aiming to clarify pathways for integrating cultural factors into design to enhance its adaptability and cultural sensitivity. She pointed out that culture is learned, shared, and dynamic, encompassing practices, values, artifacts, and symbols. Using metaphors like the iceberg, fishbowl, and forest, she analyzed the complexity of culture, distinguished between national cultures and subcultures, and discussed their application and inspiration in design studies. She stressed that designers need to strengthen their cultural sensitivity—avoiding stereotypes, understanding cultural nuances, and enhancing community collaboration—to reduce cultural conflicts and increase the acceptance of designs in cross-cultural contexts.
Guo Weimin
Zhishan Distinguished Professor / Doctoral Supervisor, Jiangnan University
Professor Guo Weimin presented the nearly two-decade academic journey of his research team. He began by outlining the heritage of local architecture, covering historical research, the construction of theories for context-based design, and the renewal and protection of architectural heritage. The presentation then delved into the core propositions of contemporary design from three dimensions: an analysis of design characteristics based on design ontology, research on professional development paths under policy guidance, and a discussion of the contemporary mission of the design discipline in China. Using Zhenjiang, Yangzhou, and Nantong as case studies, Professor Guo showcased his team’s innovative achievements in preserving historical memory and spatial regeneration through a series of protection and renewal projects, providing a practical paradigm for the conservation and inheritance of contemporary architectural heritage.
Xue Haian
Professor / Doctoral Supervisor, College of Design and Innovation, Tongji University / Visiting Professor, Faculty of Industrial Design Engineering, Delft University of Technology
Professor Xue Haian used “nostalgia” as a starting point to explore the significant value of nostalgic design in contemporary society and well-being innovation from emotional, technological, and cultural perspectives. He described nostalgia as a complex emotional experience of an idealized past, often accompanied by gentle melancholy and fond memories, which can be triggered by various sensory stimuli like smells, images, and music. In the context of design, nostalgia is not just an aesthetic trend but a powerful medium for evoking emotional resonance and connecting individual and collective memory. After clarifying the concept and basic principles of “nostalgic design,” Professor Xue shared several representative case studies. These designs integrate modern functionality and aesthetics while preserving historical elements and cultural symbols, thereby achieving emotional continuity and strengthening users’ sense of cultural identity and social belonging.
Pedro A. S. Carvalho de Almeida
Assistant Professor of Design / Doctoral Supervisor, Department of Communication and Art, University of Aveiro, Portugal / Fellow of the Royal Society of Arts, UK
The lecture centered on “design as a tool for cultural preservation, community engagement, and contextual innovation.” In the area of brand archaeology and cultural preservation, Pedro De Almeida shared his journey from a childhood fascination with sneakers to pioneering “brand archaeology,” a method combining archival research, visual analysis, and community collaboration. Regarding contextual design and sustainability, he emphasized designing within cultural and environmental contexts, noting that “cultural sustainability” is crucial for protecting traditional industries threatened by globalization and generational shifts. He uses visual maps and physical objects to analyze fragmented data, advocating for using existing culture as a springboard for new creative expressions. Finally, he mentioned the documentary “The White Lines,” which links coastal erosion in Aveiro, Portugal, to threats against cultural heritage, reinforcing the need for design interventions to address both environmental and heritage challenges simultaneously.
Arthur Roeloffzen
Head of Studio Arthur Roeloffzen
As a practitioner active in art, architecture, music, and publishing, Arthur Roeloffzen delivered an inspiring presentation on “Image-based Storytelling and Multidisciplinary Design” based on his multi-dimensional creative approach. He emphasized that graphic design is not just a practice of visual language but a process of constructing content and conveying ideas through typography, editing, and collage. He shared several works centered on “water culture,” “urbanization,” and “philosophical visualization,” demonstrating how design can build bridges between society, culture, and technology. Furthermore, Arthur Roeloffzen discussed his explorations in design education, such as curating lecture series, organizing study trips, and encouraging students to engage with social issues through design. He advocates for “thinking through making,” encouraging students to use curiosity as a starting point to develop their own visual systems at the intersection of disciplines.
Lily Díaz-Kommonen
Professor / Doctoral Supervisor, Department of New Media, School of Arts, Design and Architecture, Aalto University
Lily Diaz-Kommonen shared her achievements and expertise in areas such as digital archival design for archaeology and ontological research of historical artifacts. Specializing in new media, her research involves digitalization, art heritage preservation, and design, with a focus on interdisciplinary approaches that combine art, design, and technology. Methodologically, Professor Diaz-Kommonen uses activity theory to analyze knowledge creation in art, design, and archaeology and emphasizes constructing heritage data structures through ontologies, such as artifact descriptions and metadata. Technically, she employs 3D modeling, game engines (Unity), and AI tools (self-organizing maps) for heritage visualization. She also utilizes interactive systems (like Kinect sensors and back-projection setups) to provide immersive user experiences, offering a multi-dimensional perspective and practical examples for the digital research and presentation of cultural and art heritage.
Wang Feng
Dean of the China Zisha Art and Design Research Institute, Jiangnan University / Deputy Director of the Public Art Committee of the China Artists Association / Professor / Doctoral Supervisor
Professor Wang Feng first explained, on a theoretical level, the enabling mechanism of public art as a spatial medium with social value and cultural growth potential in the process of urban renewal and its role in constructing the urban image. He then provided practical explanations, combining a series of design projects he led to analyze innovative models for public art’s intervention in urban transportation hubs like subways and airports, deeply exploring the role of artistic intervention in promoting urban renewal practices. Finally, based on teaching cases from interdisciplinary graduate courses and graduation projects at the School of Design, Jiangnan University, he proposed a methodological framework for the integrated innovation of public art and digital technology. He focused on discussing the application paths of digital technology in strengthening the social responsibility of public art, deepening humanistic care, and promoting the inheritance of cultural context, providing an important reference for discipline construction and talent cultivation in art and design schools at home and abroad.
Innovative Study Tour of Canal Cities
From July 16 to 18, the summer school’s faculty and students embarked on a three-day innovative study tour of canal cities, visiting Yangzhou, Suzhou, and Wuxi. The first stop, the China Grand Canal Museum in Yangzhou, reconstructs a millennium of canal transport memory through immersive digital exhibitions. The Suzhou Museum, designed by I. M. Pei, merges the region’s cultural relics with garden imagery, creating an aesthetic landmark for urban renewal. The Wuxi Museum focuses on industrial and commercial culture, revealing the deep impact of the canal on the city’s economic DNA. Finally, the Nanchang Street historical district showcased the original “Jiangnan water alleys,” providing a valuable model for the renewal of historic districts along the canal.
Expert Sharing Sessions
Zhu Shiping (Chinese Jade Carving Artist): At the Yangzhou Intangible Cultural Heritage Treasure Museum, Zhu Shiping gave a detailed explanation of intangible cultural heritage skills like lacquerware and jade carving. He analyzed the “canal imagery” in his jade creations, using the natural texture of jade to suggest water ripples and carving techniques to depict canal boats and routes.
Zhang Yi (Inheritor of Scholar’s Rock Art): In his studio, Zhang Yi spoke on the theme “The Humanistic Origins and Contemporary Application of Taihu Stones and the Canal.” He explained how the canal’s water shaped the unique texture of Taihu stones and connected the cultural memories of the cities along its banks, emphasizing that creation must be rooted in traditional culture.
Chen Cai (Designer, Gusuqiao Construction Society): With the theme “Canal Homes, Jiangnan Scenery,” Chen Cai explained his concept of localized design for commercial spaces. His “Source-Construct-Transform” approach involves extracting architectural elements from classical texts and translating canal culture, such as dock railings and boat wood textures, into interior designs to integrate historical texture into modern scenes.
Experience of the Summer School
On July 25, the 2025 Jiangnan University International Design Summer School—“Bridging · Inclusion: Sensing China through Cross-Cultural Experience Design”—successfully concluded at the School of Design. The 12-day program was hosted by the China Education Association for International Exchange and organized by Jiangnan University. As a short-term exchange under the YES program framework, it was held in partnership with the EXPRESSO Experience Research Society and invited nine European students from five countries, including France, Italy, and Germany. Using design as a bridge, the program decoded the charm of Jiangnan and opened a new chapter of cross-cultural integration.
“When I learned early in the year that Jiangnan University would host an international design summer school, I immediately felt it was an opportunity I couldn’t miss—I had to fly to the other side of the world, to Jiangnan University, to join the summer school and experience China,” said Vitalina Levdikova, capturing everyone’s anticipation.
Emil Tetzner-Harris shared, “The moment I arrived on campus, I felt both excited and nervous. But as I began to understand design through the perspective of Chinese designers, that nervousness gradually turned into awe. Especially when the faculty and students warmly helped me check in and patiently explained the schedule, I instantly felt a sense of belonging.”
Sebastiano Massimo Barbagallo said, “We spent three days walking through the canal cities of Yangzhou, Suzhou, and Wuxi. The depth of traditional craftsmanship took our breath away and transformed ‘Jiangnan’ from a word in a book into a tangible, lived experience.”
“What impressed me most was our visit to the Yangzhou Intangible Cultural Heritage Treasure Hall. The red-carved lacquer screen and mother-of-pearl (luodian) inlay perfectly fuse utility and art. It’s a trove of culture that helped me grasp the vastness of China’s intangible heritage,” reflected Roméo Charrière.
Giulio Battistoni observed, “Studying the stone-appreciation culture of Jiangnan gardens taught me a lot—especially learning about the historical bonds between this land and its people and the symbolic meanings embedded in the rocks. I admire the exquisite craftsmanship passed down through generations and the focus and artistry of local artisans.”
“In Europe, our teachers tend to start from a ‘problem’ and look for answers, while Chinese professors analyze concrete design cases and guide us to deepen our humanistic concern,” noted Elizabeth Nazarova. “Different design logics collided in discussion yet converged on a shared pursuit—how to make design more warm and humane—broadening everyone’s horizons through a cross-cultural lens.”
“In the design workshop, I was no longer a bystander to traditional Chinese culture but a creator of cross-cultural design,” said Lilou Mouilleron-Becar. “Our team took ‘Jiangnan’ as our inspiration, blended in our cultural DNA, and infused it into our design. We ultimately won the ‘Outstanding Team Collaboration Award,’ and we’re all thrilled.”
“The growth I gained from this summer school hid in every breakthrough,” said Ainhoa Nefeli Konstantinou-Kapretz. “Language barriers once made me stumble, and differences in design thinking led to heated debates, but we ultimately discovered that ‘difference is not a barrier; it is nourishment for design.’ I am very grateful to the teachers for helping us sense China and for their meticulous guidance in the workshop.”
Giulia Matteelli reflected, “These days brought many fascinating perspectives I had never imagined and greatly expanded my understanding of design—truly an invaluable experience. I will definitely return to China, to Jiangnan University, because here there is not only the poetry of Jiangnan, but also the soil in which design can grow.”
From the anticipation of first encounters to the tacit harmony of inclusion, from cultural sensing to design practice, “Bridging · Inclusion—Sensing China through Cross-Cultural Experience Design,” the 2025 Jiangnan University International Design Summer School, came to a successful close. The School looks forward to welcoming more international students to Jiangnan—to use design as a bridge and understanding as a light—to realize deep cultural integration along the Jiangnan canals and continue this resonance that transcends boundaries.
Design Prizes
A Millennial Vein: The Grand Canal’s Past and Present — An Interactive Public Installation Art Design
This work centers on canal culture, linking past and present through an immersive interactive experience. The installation adopts a ‘Temporal Corridor Bridge’ concept, integrating water-mist projection, touch interaction, and AR to create a multilayered cultural narrative space. Visitors enter through a water-curtain gateway, pass beneath the bridge amid holographic projections of ancient imperial grain transport scenes, then ascend to the corridor bridge where rotating screens, touch interfaces, and NFC taps on their phones let them explore the canal’s history and intangible cultural heritage. The design artfully combines authenticity with contemporary technology: beneath the bridge, the temporal corridor conveys dynastic transitions; on the bridge, spatial interactions embody the intercity connectivity of canal culture.
Qiong·Yi — A Yangzhou Intangible Cultural Heritage Experience Pop-up Based on a Landscape Gene Atlas
Based on a landscape-gene taxonomy, Yangzhou’s traditional landscape genes are grouped into three primary categories—lines, points, and planes—with 24 specific elements presented as icon-labeled references. A heat-map matrix quantifies the strength of associations among elements to decode the “landscape genes” of historic architecture, forming the basis for the design.
In appearance, the scheme fuses line, point, and plane elements—for example, using traditional architectural lines to outline contours, selecting signature point features as accents, and applying classic planar patterns as ornamentation. The service experience echoes the cultural connotations of Yangzhou’s traditions, shaping a distinctive style and providing a practical exemplar for the transmission of historic architectural culture, stylistic analysis, and contemporary reinterpretation.
Echo Story Dome
Echo Story Dome is an installation where culture and educational are joined into one: based in the kid’s playground in Beitang Street, our installation provides a way to redirect the noise coming from the nearby road while also teaching the kids about Wuxi Canal’s culture through interactive stories.
“Hanyue · Yingshan”: A Canal-Culture Tableware Collection for Huaiyang Cuisine
With canal culture as the theme, this project draws on emblematic Yangzhou symbols and motifs—such as Wenchang Pavilion, the traditional grain measure, the “reclining ox gazing at the moon,” canal boats and oars, ancient bridges, and classical garden lattice windows—to create tableware for six hallmark dishes of Huaiyang cuisine: Wensi Tofu, Yangzhou Fried Rice, Lion’s Head meatball, tang gansi (hot shredded dried tofu), Squirrel-shaped Mandarin Fish, and san ding bao (three-dice steamed bun). The vessel forms strike a balance between practical utility and expressive meaning, so that—from individual pieces to full sets—the tableware becomes a carrier of Huaiyang flavors and a vessel of canal-culture memory.
Shared Rest at Nanchang — Micro-Renewal of Nanchang Street’s Landscape Rest Spaces
“Pause once to see a thousand ripples; boats berth at Nanchang.”
With a long history and rich cultural heritage, Nanchang Street in Wuxi is the focus of this project, which seeks to reshape its public rest areas into spaces that integrate cultural display, leisure and relaxation, and landscape appreciation. Guided by the vision of “rest spaces shared by all,” the scheme activates the historic district through modular landscape design that serves both residents’ social needs and visitors’ cultural experiences. The renewed spaces introduce additional seating made from natural materials such as wood and stone, paired with Jiangnan-style design elements, offering people a pleasant place to pause and unwind.
“Cao-Mai · Chuan-Guang: Drifting Boats Through Shadows, Remembering the River Journey”
An immersive pavilion experience themed around the lifelines of canal-borne grain transport culture
Sited on the outdoor waters of the China Grand Canal Museum, the design centers on caoyun (imperial grain transport) culture to create an immersive, water-borne narrative space. Taking the traditional grain-shipping boat as its prototype, the installation weaves in the symbol of mingwa (daylighting roof tiles), transport-guild emblems, and warehouse structures to form a navigable floating pathway that activates the on-water exhibition route. Visitors travel by boat past a sequence of large-scale cultural installations inspired by key historical moments—grain storage, shipment, and trade—supported by textual, visual, and audio guides, together composing a “moving museum” that fuses space, history, and memory.
Xicheng Bridge Chronicles — Information Visualization & Cultural-Creative Design for Wuxi’s Bridges
As connectors in physical space, bridges overcome geographic barriers—achieving a “hard suturing” of regions. Beyond that, they can also serve as a “soft suturing” of time and memory, and of nature and culture.
Taking “the bridge as suture” as its conceptual lens, the project surveys and documents more than thirty bridges within Wuxi. Panel 1 addresses the soft suture of time and memory: using waterways as the base layer, it strings together a timeline of Wuxi’s bridges from antiquity to the present. Panel 2 examines the hard suture of territory: it clarifies the bridges’ spatial distribution and morphological data.
Ultimately, the work responds to “suturing” as a mechanism of urban spatial production, revealing the mediating role of bridges in shaping Wuxi’s waterside urban form.
“Chuanyi Boat” (传艺舫): A Permanently Moored Cultural Hub for Local Artisan Teaching & Practice
Chuanyifang; Chuan (传- “Pass on, ” “Transmit “) yi (艺- “Art, ” “Craft, ” “Skill”) fang (舫- “Elegant boat, ” “Pavilion vessel”) or Chuanyi Boat.
Project: A stationary canal vessel, serving as a hub where local artisans share their craft and expertise. Each canal town would foster and teach its traditional local crafts to encourage travel and local culture preservaton.
“Canal Granary · Land of Fish and Rice” — Design Renewal Study for the Dockside Market at the Sanliqiao Section of Wuxi’s Grand Canal
This proposal aligns with the theme of “Urban Image Renewal for Canal Cities,” focusing on updating the dock-and-market space along the Sanliqiao stretch of the Grand Canal in Wuxi. The granary component echoes Wuxi’s history of canal-borne grain transport and storage, while the dockside market recreates the bustling scenes of the former rice trade. Through spatial renewal—combining scene reconstruction, mixed-use programming, and cultural re-design—the scheme immerses participants in caoyun (imperial grain transport) culture and everyday market life, creating a dockside marketplace that blends deep tradition with contemporary vitality.
Organizers
EXPRESSO Summer School 2025 Team
Manager
Yichen Lu, Associate Professor, Jiangnan University
Members
Virpi Roto, Vice Dean of Impact at School of Arts, Design, and Architecture, Aalto University, PhD
Michael Lai, Managing Partner, Tang Consultancy, PhD
Markus Ahola, Chief Specialist, LAB University of Applied Sciences, PhD
Sara Chen, the Deputy Director of the Experience Design Frontier Methodology and Technology Research Center (Overseas Expertise Introduction Center for Discipline Innovation, 111 Center), Jiangnan University
All images and content are © Jiangnan University
