The Open Environments Lab (OEL)

is a research department

specialising in design research in

«blasted landscapes».


The Open Environments Lab (OEL)

is a research department

specialising in design research in

«blasted landscapes».


The Open Environments Lab (OEL)

is a research department

specialising in design research in

«blasted landscapes».


The Open Environments Lab (OEL)

is a research department

specialising in design research in

«blasted landscapes».

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About

About

The Open Environments Lab (OEL) is a research department specialising in design research in «blasted landscapes».[1] The OEL works on situated and immersive research approaches in landscapes that have been irreversibly shaped and altered by humans. Through the integration of design, ethnographic methods for ecological attunement and participatory practices to engage local communities, as well as applied design practices through immersed prototyping, the research department seeks to develop a new design culture and practices that resonate with the multimodal ecological crisis.


The aim is to create «patches of hope» [2] in catastrophic times [3]. Unlike classical restoration approaches, the OEL incorporates bioregionalism [4], queer ecologies [5], and convivial conservation [6] into its design strategy to develop proposals for new species assemblages and associated habitats. Following Donna Haraway's term «sympoiesis» [7], sympoietic design [8] is applied as a guiding principle that considers both human and non-human needs in the creation of shared habitats, contributing to a planet-centric design perspective.


The OEL is organised in different studios that conduct design research in specific ecosystems experiencing profound decline in species diversity, habitats, and ecosystem conditions. These established research networks combine ecology, biology and anthropology, as well as local knowledge and cultures. The studios — such as the Open Oceans Studio, Open Wetlands Studio and Open Forest Studio — function as platforms that engage with relevant ecological and sociopolitical stakeholders. They propose local, situated approaches that could transform ruinous environments into liveable habitats for both human and other-than-human species.

The Open Environments Lab (OEL) is a research department specialising in design research in «blasted landscapes».[1] The OEL works on situated and immersive research approaches in landscapes that have been irreversibly shaped and altered by humans. Through the integration of design, ethnographic methods for ecological attunement and participatory practices to engage local communities, as well as applied design practices through immersed prototyping, the research department seeks to develop a new design culture and practices that resonate with the multimodal ecological crisis.


The aim is to create «patches of hope» [2] in catastrophic times [3]. Unlike classical restoration approaches, the OEL incorporates bioregionalism [4], queer ecologies [5], and convivial conservation [6] into its design strategy to develop proposals for new species assemblages and associated habitats. Following Donna Haraway's term «sympoiesis» [7], sympoietic design [8] is applied as a guiding principle that considers both human and non-human needs in the creation of shared habitats, contributing to a planet-centric design perspective.


The OEL is organised in different studios that conduct design research in specific ecosystems experiencing profound decline in species diversity, habitats, and ecosystem conditions. These established research networks combine ecology, biology and anthropology, as well as local knowledge and cultures. The studios — such as the Open Oceans Studio, Open Wetlands Studio and Open Forest Studio — function as platforms that engage with relevant ecological and sociopolitical stakeholders. They propose local, situated approaches that could transform ruinous environments into liveable habitats for both human and other-than-human species.

[1] Anna L. Tsing (2014). »Blasted Landscapes (and the Gentle Arts of Mushroom

Picking).« In: Eben Kirksey (ed.) (2014). »The Multispecies Salon«. 
Duke University Press. 

[2] Alexis Shotwell (2016). Against Purity. Living Ethically in Compromised Times.

University of Minnesota Press: 198.

[3] Isabelle Stengers (2015). In Catasrophic Times: Resiting the Coming Barbarism.

Open Humanities Press.

[4] Peter Berg & Raymond Dasmann 1977, Glotfelty & Quesnel 2014, Tom Lynch 2016,

Samuel Wearne et al. 2013.

[5] Greta Gaard 1997, Catriona Mortimer-Sandilands & Bruce Erickson 2010,

Timothy Morton 2010, Matthew Gandy 2012, Catriona Sandilands 2016.

[6] Bram Büscher & Robert Fletcher 2019, 2020, Kate Massarella et al. 2023.

[7] Donna Haraway (2016). Staying with the Trouble. Making Kin in the Chtulucene.«

Duke University Press:  58-98.

[8] Rasa Weber (2023). »A Sympoiec Ocean. Design research with/in the marine

holobiont.« ISEA 2023, 28rd Symposium on Electronic Art: Symbiosis. Paris.

[1] Anna L. Tsing (2014). »Blasted Landscapes (and the Gentle Arts of Mushroom

Picking).« In: Eben Kirksey (ed.) (2014). »The Multispecies Salon«. 
Duke University Press. 

[2] Alexis Shotwell (2016). Against Purity. Living Ethically in Compromised Times.

University of Minnesota Press: 198.

[3] Isabelle Stengers (2015). In Catasrophic Times: Resiting the Coming Barbarism.

Open Humanities Press.

[4] Peter Berg & Raymond Dasmann 1977, Glotfelty & Quesnel 2014, Tom Lynch 2016,

Samuel Wearne et al. 2013.

[5] Greta Gaard 1997, Catriona Mortimer-Sandilands & Bruce Erickson 2010,

Timothy Morton 2010, Matthew Gandy 2012, Catriona Sandilands 2016.

[6] Bram Büscher & Robert Fletcher 2019, 2020, Kate Massarella et al. 2023.

[7] Donna Haraway (2016). Staying with the Trouble. Making Kin in the Chtulucene.«

Duke University Press:  58-98.

[8] Rasa Weber (2023). »A Sympoiec Ocean. Design research with/in the marine

holobiont.« ISEA 2023, 28rd Symposium on Electronic Art: Symbiosis. Paris.

[1] Anna L. Tsing (2014). »Blasted Landscapes (and the Gentle Arts of Mushroom

Picking).« In: Eben Kirksey (ed.) (2014). »The Multispecies Salon«. 
Duke University Press. 

[2] Alexis Shotwell (2016). Against Purity. Living Ethically in Compromised Times.

University of Minnesota Press: 198.

[3] Isabelle Stengers (2015). In Catasrophic Times: Resiting the Coming Barbarism.

Open Humanities Press.

[4] Peter Berg & Raymond Dasmann 1977, Glotfelty & Quesnel 2014, Tom Lynch 2016,

Samuel Wearne et al. 2013.

[5] Greta Gaard 1997, Catriona Mortimer-Sandilands & Bruce Erickson 2010,

Timothy Morton 2010, Matthew Gandy 2012, Catriona Sandilands 2016.

[6] Bram Büscher & Robert Fletcher 2019, 2020, Kate Massarella et al. 2023.

[7] Donna Haraway (2016). Staying with the Trouble. Making Kin in the Chtulucene.«

Duke University Press:  58-98.

[8] Rasa Weber (2023). »A Sympoiec Ocean. Design research with/in the marine

holobiont.« ISEA 2023, 28rd Symposium on Electronic Art: Symbiosis. Paris.

[1] Anna L. Tsing (2014). »Blasted Landscapes (and the Gentle Arts of Mushroom

Picking).« In: Eben Kirksey (ed.) (2014). »The Multispecies Salon«. 
Duke University Press. 

[2] Alexis Shotwell (2016). Against Purity. Living Ethically in Compromised Times.

University of Minnesota Press: 198.

[3] Isabelle Stengers (2015). In Catasrophic Times: Resiting the Coming Barbarism.

Open Humanities Press.

[4] Peter Berg & Raymond Dasmann 1977, Glotfelty & Quesnel 2014, Tom Lynch 2016,

Samuel Wearne et al. 2013.

[5] Greta Gaard 1997, Catriona Mortimer-Sandilands & Bruce Erickson 2010,

Timothy Morton 2010, Matthew Gandy 2012, Catriona Sandilands 2016.

[6] Bram Büscher & Robert Fletcher 2019, 2020, Kate Massarella et al. 2023.

[7] Donna Haraway (2016). Staying with the Trouble. Making Kin in the Chtulucene.«

Duke University Press:  58-98.

[8] Rasa Weber (2023). »A Sympoiec Ocean. Design research with/in the marine

holobiont.« ISEA 2023, 28rd Symposium on Electronic Art: Symbiosis. Paris.

Rasa Weber

Rasa Weber

Rasa Weber is the founder and coordinator of the Open Environments Lab (OEL). She is an experimental designer, researcher, and diver whose practice-based research explores the intersection of critical ecology and anthropogenic environmental change.

Her work weaves together design, materials research, biology, and anthropology — anchored by a strong narrative sensibility and a critical ecological perspective.

The ocean plays a central role in her research, particularly through the lens of queer ecological figurations that challenge normative frameworks of nature and human-other-than-human relations. In collaboration with peers, local communities, and students, she cultivates the OEL as an active platform for engaging ecological issues through design research.

Rasa Weber is the founder and coordinator of the Open Environments Lab (OEL). She is an experimental designer, researcher, and diver whose practice-based research explores the intersection of critical ecology and anthropogenic environmental change.

Her work weaves together design, materials research, biology, and anthropology — anchored by a strong narrative sensibility and a critical ecological perspective.

The ocean plays a central role in her research, particularly through the lens of queer ecological figurations that challenge normative frameworks of nature and human-other-than-human relations. In collaboration with peers, local communities, and students, she cultivates the OEL as an active platform for engaging ecological issues through design research.