INtoto | Ricardo Lujan Peschard

Furniture in the line of inclusion

INtoto is a line of home furniture inspired by the people who have been recently diagnosed with a disability. With the uncertainty of what the future means, the furniture is designed to empower, normalize and break stigmas of their new lifestyle.

This project was awarded The Wood Co-Op/Forestry Innovation Investment in Wood Design Industrial Design Graduation Award


Barbara is a young professional who was diagnosed with Multiple Sclerosis in April 2019. Since then her lifestyle changed in a drastic way, the everyday tasks became more challenging. Her main symptoms back then were spasm, low energy, difficulty walking at times, standing up from soft surfaces, limited strength.

As time passes by she adapts better and is able to do all sorts of activities thanks to the treatment, but where she has been struggling the most is about the stigma. Having to use medical devices such as, shower bench, outdoor and indoor walker and sometimes having to use a wheelchair.

This fact has affected her self esteem, as she needs to use these not very attractive medical devices in public. Once at home this does not change much, couches are challenging to get out from, other seating surfaces tend to be low or do not feel safe.

One of the things she noticed is the convenience of being able to adapt the height of her seat on the shower bench which was a one time setup until she needs to re adjust it and the height of the walker.

This is where I found my space of opportunity, to design furniture that can adapt to the needs of Barbara.

Designing for the dinning area

I decided to design for the dinning room as this area lets Barbara use the area with ease, it can be used to do work, eat, have friends over and also this pieces of furniture can be used in other areas of the house. The design provides versatility and a vernacular aesthetic to step away from the medical device feeling.


Hard Maple

Hard-wearing heavy wood commonly used in furniture. The heartwood is a light reddish brown while the sapwood is often whiter.


Light weight and corrosion resistant metal often used due to its strength on certain alloys, recyclable.

How it works

Inspired by other medical devices such as crutches, shower benches and walkers, the legs of the furniture provide the ability to adjust the height in a familiar way as the devices mentioned before.

The holes on the aluminum part provide increases of half an inch, to secure the desired position a clevis pin is used on each leg. Shown in the picture on the right.

Ricardo Lujan Peschard

Originally from Mexico, I moved to Canada to study Industrial Design at Emily Carr University, where I developed a passion for home decor and furniture design. I identify more as a maker as bringing the idea to life is where I find my strength. I love being able to touch and feel how a material behaves and find ways where we can push the limits of them. I have developed skills on 3d rendering, wood working and ceramic works.

On my spare time I enjoy outdoor activities like camping, cycling and landscape/architectural photography.

Wave-e | Lance Pan

Wave-e is designed with a simple low and wide silhouette similar to supercars and sports cars. The continuous long-flowing lines going from one end to the other is what defines the name of the vehicle. The doors open in a scissor form to enhance the experience and allow for more headroom while entering the vehicle.

The interior of Wave-e allows for two passengers and a pet. The primary seating positions are upright and flat as a bed. The dashboard presents two large touchscreens for each user with a clock and on-board wine cellar in the centre. As this vehicle is autonomous, alcohol is allowed to be part of the experience.


The user experience concept associated with the dual touchscreen dashboard in Wave-e is centered around creating a simple and easy to navigate experience. Each user has their own personal touchscreen to use which they can access various in-car services, the GPS, entertainment and connect their mobile device. Assistance is provided by artificial intelligence.

The 2030 Autonomous Transport System

2030 Autonomous Transport System is a vehicle rental service in a future where car ownership will decrease as the needs for a personal vehicle will be less common as ownership is expensive, costly and more harmful for the environment.

All the vehicles are parked in special buildings where they are dispatched based on need. In the building, charging and cleaning is performed. The system allows for easy expansion depending on needs of the city or the population.

Within the system there are four different types of vehicles for different requirements.

Wave-e serves as a special, experiential vehicle within the system.


The moodboard for Wave-e is supplemented by simple, nearly monochromatic design to represent strength and humility in it’s design.

Clay model exploration was done in 1:10 scale with a foam core base and standard practice Industrial Plasticine. The exploration is done to represent the exterior form of Wave-e in a tangible experience.

Lance Pan is a Multidisciplinary Industrial Designer born and raised in Vancouver, Canada. Growing up in the lower-income part of Richmond has shaped his identity to create inclusive works

His focus mainly pertains in Furniture, Automotive, Communication and rapid ideation.

A Place For Presence | Augusta Lutynski

For this project, ‘place’ describes a personally relatable space. This project began by exploring the creation of place through citizen-driven interventions in public space. In my research, place is a reaction of a moving context; it is constantly evolving within shared space. Despite this, places are often designed as permanent physical infrastructures and are not responsive to evolving spatial conditions. I realized that there is an inherent separation between citizens and public space as they tend to passively rather than actively engage with shared environments. For this reason, the aim of my project was to explore methods of active participation that would foster a sense of place that is responsive, ephemeral, and personally relatable. My research process involved interventions, workshops, and activities that created a temporary experience of place. The pieces draw from my research; synthesizing the spatial explorations I did throughout this project. The final designs express the temporalities of place in public space through personal spatial relations and actions.

Prompt 1:

The picnic blanket is iconic in its facilitation for creating a place for gathering, sitting, and ‘being’ in public space. Its intrinsic ability to create a self-determined place became a tool for me to push the context of experiencing public space to areas typically not considered. The blanket represents a physical and visual site for people to situate themselves in a range of public environments. By slowing down and being present in public areas there is potential to sense existing physical and social characteristics that are otherwise not given much thought. Placing the blanket in a public space might draw attention to qualities such as the texture of the ground, new sounds and smells, or the sight of others nearby. The more time spent in a space, the more one’s awareness and sense of connection become heightened. Bringing this blanket outside the traditional environment of a park invites individuals to slow down and take in spaces that might normally feel transient or distanced. Prompt 1 asks individuals to rest, stay, and be’ in space, encouraging deeper sensory experiences and reflections within a variety of public landscapes.  

– Woven and felted wool

Prompt 2:

Throughout my spatial explorations, markings and tracings became a key mode for expressing movement and temporary happenings within an environment. The traces of car wheels on pavement, debris lines leading to drains, textures of shoes imprinted onto surfaces, and remnants of seeds spread from a cottonwood tree are all examples of expressions of movement and change within public space. While these say something about the context and narratives within a space since they are immediate expressions of life in a shared environment and time, they are also curiously ambiguous and sometimes unknown. This walking wheel leaves a path on the ground as it moves about an environment. As this prompt interacts with the ground it could trail water from a puddle, mud from soil, or indent a pattern in sand. Walking from one place to another, a path is left on various surfaces indicating one’s temporary presence and visually expressing one’s movement through space. Prompt 2 draws attention to the materiality within an environment; the way markings in public space indicate presence and narrate the many paths of movement within that place. 

– Steel and carved elm

Prompt 3:

The sieve facilitates acts of gathering and uncovering materials within public space. The shallow bowl has the relief of various weave textures that naturally guide larger and smaller material particles to separate and sort into the indents and crevices of the sieve. Collecting and sorting is a practice of careful observation; a common activity for individuals to do in nature. One is often drawn to collect and sort materials that personally resonate with them or seem special, such as shells on a beach, rocks from a riverbed, wild flowers from a meadow, or unique sticks and leaves. These practices recognize patterns and processes within nature that produce a specific material quality within an environment. Collected objects like sea glass, leaves, or stones are a reaction of a place, a time, and the unique circumstances that made a material come to be the way it is. In the public realm, the sieve asks engagers to look closer, perhaps to uncover the contents from the bottom of a puddle or from within a sandbox. So often the material occurrences within urban space are not sought or given time; the sieve encourages the practice of finding and reflecting in urban areas. Prompt 3 aims to bring one closer, to question and narrate the unique material processes within a public space. 

– Slip-cast porcelain

Prompt 4:

This prompt came out of a long time practice of public sketching or sketching en plein air, which inspired my use of water to sketch on concrete. When sketching in public space, one is forced to respond to present conditions within a moving environment. For example, decisions must be made such as whether or not to include a biker who is only in the frame for a second or a person sitting who might get up and leave. Sketching with water on concrete removes the size limitations of a piece of paper, thus allowing a fuller embodiment of sketching. The expressions of space that are explored with these vessels allow participants to embody their environment, by gesturing and moving the body with the physicalities of public space. The vessels have various spouts and holes that spill water, leaving lines and markings as the body gestures the movement, angles, curves, and depths of space. Left behind on the ground is an interpretation of a moment that disappears as the water dries. The image left on the ground is not as relevant as the attention to public space that this activity demands. Presence is key in guiding the body to interpret and move in relation to an environment. Prompt 4 focuses on the body, using gesture as a means to embody and mark a moment within space. 

– Slip-cast porcelain

Prompt 5:

This brick press engages thoughts surrounding cycles of existence, permanence, and relevance within public space. A brick is a sturdy, functional, and long-lasting object that traditionally facilitates the building of something permanent and set. In the creation of public space, most representations of place are permanent infrastructures that do not have the capability of changing or responding to an evolving environment. By asking individuals to collect materials that are decomposing, one is prompted to think about the inanimate and animate life cycles around them. Observing the ways an environment is interconnected through constant cycles of life and death, creation and corrosion. Collecting decomposing matter within public space and pressing it into a brick form introduces temporary physical infrastructure that responds to its environment. The brick will degrade in time, and the physicality of a built place will be gone. Public space is in constant change and movement and is therefore never truly still; a place of death for one is a source of life for another. Engaging with materials and thinking about cycles of existence for leaves, beer cans, or sand all say something unique about spatial histories, and possible futures. Prompt 5 draws attention to these physical cycles and addresses the potential for the temporality of place within built space. 

– Steel

Neighbourhood Stroll

everyday spatial relations within a public landscape

Daily observations and experiences from my neighbourhood walk

For ten days I walked the same route in my neighbourhood, noting my experiences along the way. By walking the same path every day, I was able to note changes and similarities within those public spaces. The more I walked my path, the better I came to know the spaces that I moved through; I was able to expect or predict certain occurrences on my route. I came to know which areas were prone to having lots of people, where people might gather, or areas that were high in traffic. I also came to know the areas that were quiet and perhaps off people’s radar, in these spaces I mostly interacted with local people and domestic pets. The walk also presented the rhythms and schedules of my neighbours.

I would often see the same occurrences at the same time and place but on a different day. People using this neighbourhood space had picked routes and areas that they would consistently situate themselves in as I had on these walks. It made me think about the vast range of spaces people relate to based on their activities, routines, location, and needs within public space. People using public space consider their unique needs and choose places that work for them. The social and built constructs within public environments dictate the way an individual will choose to navigate and situate themselves in shared space.