Design and Research Processes is the most significant outcome of my education at TU/e; this education equipped me with process methodologies, but also the ability to critically assess challenges and combine or create methodologies for specific needs. My understanding of Design & Research Processes has evolved to emphasize the importance of using prototypes and artifacts as tools for knowledge generation, rather than as finished products. In Design <> Research (DDB100), I learned how to use design probe kits (Gaver et al., 1999) to support ongoing research and gather insights from users in a way that informs the design process. This is especially important when targeting (unfamiliar) communities, relevant to my vision. Additionally, my work in Aesthetics of Interaction (DCB200) helped me discover new approaches to Research through Design (RtD), such as the use of embodied interaction (Ross & Wensveen, 2010) and expressive feedback loops (Djajadiningrat et al., 2007) to guide user engagement. Throughout my CBL Projects, I gained experience working with models like RTDP (Hummels & Frens, 2009), Double Diamond (Design Council, 2005) and Triple Diamond (Figure 3), and human-centered design (IDEO.org, n.d.). In Participatory Co-imagining (DUB220), I learned First-Person Speculative Fabulation (Gloerich & Ferri, 2023) as a speculative workshop method. I highly value narratives and experiences in designing using participatory methods, and speculative design provides the exact toolkit for me to achieve this. In my FBP, I developed a decolonial design process specific to my project (Figure 4), connected to autonomous and pluriversal design. I did not want to force an existing process onto the project, because the subject matter, community and cultural context required a more meticulous approach. During my internship, I also mapped the studio’s design pipeline (Figure 2) from brief to delivery. This showed me that I can not only follow a process, but observe, structure and communicate processes already embedded in practice.