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Assistant Professor Kimberly Mitchell led an interactive workshop on the pervasive issue of ageism within art and design. In “Designing for Tomorrow: Embracing and Communicating Age-Inclusive Design in Education and Practice,” participants engaged in discussions and hands-on activities that revealed the roots and consequences of age-related biases. Mitchell guided participants through exploring actionable steps to foster a more inclusive and accessible design environment.

Mitchell’s interest in ageism began during her graduate studies, where she took a transformative course, “Design for All People,” which was cross-listed with architecture and gerontology.

“My initial understanding of aging was shaped by common misconceptions, which I quickly realized were wrong,” she said. “The course opened my eyes to the critical role designers play in addressing the needs of older adults, and I pursued a minor in gerontology to deepen my understanding. As I’ve aged and gained more personal experiences, I’ve become even more invested in this work—wanting to design for a future where I, and others, can age in place joyfully and with dignity.”

During the workshop, Mitchell introduced her resource website, , which provides literature, guidelines, and methodologies to support educators and designers in creating more equitable, joyful, and enriching experiences for all. Participants gained insights into how age bias can unconsciously influence design practices, often excluding older adults unintentionally. Through hands-on activities, such as the Futures Cone exercise, participants were encouraged to think critically about future scenarios related to aging and caregiving, envisioning their own aging journeys and the systems they would want to interact with.

Mitchell emphasized that design can help alleviate many challenges faced by aging populations.

“We can create more intuitive healthcare portals, design user-friendly telehealth systems, and develop easier-to-navigate interfaces for older adults. These improvements may seem small, but they make a huge difference in how older adults access and experience healthcare.”

Reflecting on the workshop’s impact, Mitchell said, “One participant shared that the workshop profoundly shifted her perspective. She admitted that when designing for older adults, she hadn’t previously thought about herself in the process. She came expecting to learn about accessibility features like font size but walked away with a much deeper understanding of how design can shape the future we all want to age in.”

Mitchell hopes to continue expanding the conversation around age-inclusive design, pushing for its integration into design education and advocating for more intergenerational collaboration in practice. Her ultimate goal is to ensure that design solutions for aging populations are not just functional but also beautiful, joyful, and empowering.

Assistant Professor Chris Cote spoke during one of the conference’s design educator community sessions. His presentation, “Typography in the Public Sphere: Design as Public Address,” focused on the transformative possibilities of typography when it escapes the confines of the studio and digital platforms, extending into public spaces where it can address social issues and foster community engagement.

Educators appreciated Cote’s discussion on how traditional design education often limits typographic practice to the classroom, which can hinder students’ exploration of its real-world potential. His session emphasized engaging with public spaces through typographic interventions, showcasing how students can use typography to amplify their voices and contribute to meaningful conversations. Many attendees were impressed and inquired about how they might implement similar projects in their own teaching.

Cote highlighted his studio project, “How Can Designers Alter Public Space Through Typography?”, where students critically examined issues of access, representation, and social justice, deepening their understanding of design’s societal impact and fostering a more inclusive, empathetic design practice.

“The project influenced positive change by amplifying marginalized voices, resisting traditional design paradigms, and fostering community engagement,” said Cote. “For instance, using Riso printing to overlay messages on free newspapers brought overlooked social issues to public attention, while stickers addressing catcalling made gender-based harassment visible and prompted dialogue. By challenging conventional design norms, students expanded the scope of design possibilities, exemplified by the redesign of signs to subvert their original messages and provoke thought about societal norms. Community engagement was fostered through transforming unattractive campus spaces like elevators by gathering user feedback and redesigning with inviting typography to create more engaging and pleasant environments, encouraging positive interactions.”