Abstract
This paper explores the visualisation of wetlands and waterways as a more-than-human design practice that can generate situated and relational understandings of colonised urban wetlands and waterways in Australia. We analyse three design research projects that create online visualisations of wetlands in Australia: The Sound of Water, Environmental Flows in Nap Nap Swamp (2021); The Rippon Lea Water Story (2023); and Dyarubbin the real Secret River (2020). These projects are brought together in this paper to open discussion about the role of design research place-based ethnography and critical visualisation in communicating with and about water places. We make the argument that emergent aesthetics and affects of these projects can reconfigure practice towards more equitable, reparative, and care-full climate futures.
Keywords
wetlands, visualisation, place-based design, water
DOI
https://doi.org/10.21606/drs.2026.1115
Citation
Crosby, A., Jones, S., and O'Neil, H. (2026) Surfacing wetlands through design ethnography and critical visualisation, in Simeone, L., Gray, C. M., Verhoeven, A., de Götzen, A., Bakırlıoğlu, Y., Zohar, H., Stead, M., and Buwert, P. (eds.), DRS2026: Edinburgh, 8–12 June, Edinburgh, United Kingdom. https://doi.org/10.21606/drs.2026.1115
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Included in
Surfacing wetlands through design ethnography and critical visualisation
This paper explores the visualisation of wetlands and waterways as a more-than-human design practice that can generate situated and relational understandings of colonised urban wetlands and waterways in Australia. We analyse three design research projects that create online visualisations of wetlands in Australia: The Sound of Water, Environmental Flows in Nap Nap Swamp (2021); The Rippon Lea Water Story (2023); and Dyarubbin the real Secret River (2020). These projects are brought together in this paper to open discussion about the role of design research place-based ethnography and critical visualisation in communicating with and about water places. We make the argument that emergent aesthetics and affects of these projects can reconfigure practice towards more equitable, reparative, and care-full climate futures.