Institutional-Repository, University of Moratuwa
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Community-centered design perspectives on rubber latex harvesting among smallholders in Kegalle district, Sri Lanka
(Integrated Design Research, Department of Integrated Design, University of Moratuwa, 2025-11) Kariyawasam R; Jayasinghe S; Samarawickrama, S
Sri Lanka’s rubber industry has long played a vital role in the nation’s agricultural economy, supporting export revenue, industrial growth, and rural livelihoods. Established in the late nineteenth century, the industry evolved through colonial plantation systems and today remains heavily dependent on smallholder farmers (Tillekeratne et al., 2003). However, despite its historical and economic importance, the industry is facing a critical period of decline driven by labour shortages, low productivity, yet smallholders have sustained within this rubber latex harvesting, contributing over 75% of Sri Lanka’s total natural rubber output, particularly concentrated in the Kegalle, Kalutara, and Ratnapura districts (Premasiri et al., 2017) (Navaratnarajan, 2024).
These farmers rely primarily on traditional tools and manual practices that have changed little over generations, yet modified to sustain day-to-day requirements. The tapping knives and coconut shell cups reflect the current practices that have evolved since its original introduction of rubber cultivation by the colonizer. With the changing times, such practices had affected the harvest and are unable to contribute to the economy as in earlier times. This reduction of profits had threatened to sustain farmers and the elder generation of farmers, we are losing their skill and knowledge in the traditional farming technique. Therefore, by understanding the communities, especially the elder generation’s tacit knowledge on the harvesting process and the use of tools, it is possible to gain new insight toward new innovative techniques. Therefore, this research focuses on gaining knowledge of these farmer communities with the objective of gaining insights towards design innovation.
Tacit knowledge is personal, experience-based knowledge that is difficult to express or document. It is developed through practice, observation, and interaction, and is rooted in an individual’s values, skills, and insights (Josephine Oranga, 2023). As Polanyi, (1967) noted, “we can know more than we can tell,” emphasizing its unspoken nature. Tacit knowledge promotes learning, problem-solving, and innovation, and when effectively shared, it helps create new knowledge and supports sustainable development and competitive advantage (Nonaka & Takeuchi, 1995; Leonardi & Treem, 2012). Sri Lanka’s rubber industry which began in 1876 with plantations at Henaratgoda Garden and the establishment of the Rubber Research Institute in 1920, has grown into a major producer of high-quality rubber products such as tires, gloves, and industrial goods for export (Tillekeratne et al., 2003). The rubber latex harvesting process involves three main stages: tapping, collecting, and transporting (Stankevitz et al., 2016).
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Explore grid systems and the application of it in children’s picture books for visual literacy
(Integrated Design Research, Department of Integrated Design, University of Moratuwa, 2025-11) Kobomalla, KMDU; Samarawickrama, S; Samarawickrama, S
Grid systems have long been central to visual communication design, serving as the foundation for structure, clarity, and coherence in composition. Their systematic application has shaped art, architecture, and publishing across centuries. Within the field of children’s literature, grid systems play an equally critical yet often understated role. In picture books, grids create harmony between illustrations and text, helping children visually navigate narratives while promoting cognitive and aesthetic engagement. This research explores the theoretical and practical significance of grid systems in enhancing visual literacy through children’s picture books. By situating grid design within the pedagogical and creative contexts of early childhood education, the study demonstrates how structured visual frameworks can elevate storytelling, comprehension, and interpretive skills. As visual media become increasingly prevalent in modern learning, the importance of cultivating visual literacy through thoughtful design grows ever more urgent (Müller-Brockmann, 1981; Nikolajeva, 2013). The project therefore holds relevance not only to designers and educators but also to researchers interested in literacy development and communication design.
The aim of this project is to examine the relationship between grid systems and visual literacy within the design of children’s picture books, emphasizing how visual structure aids meaning-making. Literature indicates that children engage with visuals before they can read text, relying on image-based cues to construct understanding (Avgerinou & Ericson, 1997; Nodelman, 1988). Picture books thus function as early literacy tools that bridge visual and textual learning. A well-constructed grid helps guide children’s attention through compositions, providing both rhythm and narrative flow (Bang, 2016). As Tschichold (1991) and Vignelli (2010) argue, the moral function of design lies in balancing form and clarity, a principle equally vital when designing for young readers. The study situates this investigation within a growing body of work that recognizes design not merely as decoration, but as a literacy-building tool—one capable of shaping cognitive and interpretive capacities in children. By grounding its objectives in both design theory and educational psychology, this research offers insight into how formal visual systems can foster active engagement and meaning construction in early learning.
Methodologically, the research adopts a qualitative approach that combines theoretical exploration, visual analysis, and field observation. Seven Sri Lankan picture books, developed through the National Consortium of Children’s Books (NCCB) and published in 2024, were examined as case studies. Each sample represented distinct uses of compositional grids—ranging from column and modular structures to golden ratio and rule-of-thirds applications. The research design included three key phases: (1) literature review on grid theory and visual literacy; (2) case study analysis of layout structures and visual organization; and (3) observational and interview-based study on children’s responses to the books. Data were analyzed for recurring visual patterns, reader interactions, and narrative coherence. The methodology ensured that both designer intent and reader perception were assessed, revealing how structural systems directly influenced comprehension and engagement. By triangulating design analysis with behavioral observations, the study established an evidence-based understanding of grid efficacy in fostering visual literacy.
The findings highlight a clear relationship between structured design and reader engagement. Books that employed identifiable grid systems demonstrated higher levels of visual comprehension and reader focus. For example, in Seenuge Sanda Gamana, the illustrator’s use of the rule of thirds positioned the protagonist and moon at dynamic focal intersections, creating visual tension and emotional resonance. Similarly, in Shaun Thamai Niyamuwa, the golden ratio was used to emphasize the narrative climax, directing the reader’s eye naturally toward the story’s resolution. Observations revealed that children responded positively to layouts with balanced spacing, defined margins, and consistent rhythm—factors that improved handling, sequencing, and emotional engagement. Conversely, books lacking visible grid discipline appeared more chaotic and required greater cognitive effort for navigation. These insights affirm the grid’s pedagogical power in shaping attention, memory, and interpretation—three core dimensions of visual literacy development. The integration of typographic consistency, color balance, and spatial proportion was also found to reinforce comprehension and emotional connection to narrative events (Salisbury & Styles, 2012).
The study highlights how digital analysis can serve as a bridge between design research and heritage studies. Translating a two-dimensional model to a three-dimensional context required addressing issues of scale, curvature, and perspective. Using proportional ratios rather than fixed measurements allowed reliable comparison despite differences in mask size. This image-based method enables researchers to study fragile artifacts without direct contact, supporting both preservation and analytical understanding. It demonstrates that digital measurement approaches, when appropriately adjusted, can provide new insights into the visual language of traditional craftsmanship.
In conclusion, this research underscores that grid systems are far more than mechanical tools of alignment—they are intellectual frameworks that cultivate literacy, cognition, and creativity. Through disciplined use of structure, designers of children’s picture books can create immersive, meaningful, and pedagogically sound experiences. The study contributes to design education by redefining the role of the grid as both a creative and cognitive device, offering a methodology that bridges aesthetic theory with child-centered literacy outcomes. It provides actionable insights for authors, illustrators, and educators seeking to integrate visual literacy principles into early reading materials. By demonstrating how structured design fosters cognitive clarity without limiting artistic expression, this project extendsthe discourse on how graphic design can meaningfully contribute to education and social development in the twenty-first century.
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Interactive storytelling as a systems thinking tool for conservation education in Sri Lanka
(Integrated Design Research, Department of Integrated Design, University of Moratuwa, 2026-11) Jayaweera, MPKH; Liyanage, UPP; Samarawickrama, S
Sri Lanka is one of the world’s biodiversity hotspots, yet its ecosystems face escalating threats due to habitat loss, deforestation, and human–wildlife conflict (Gunawardene, Wijesundara, & Weerakkody, 2023). Traditional conservation education methods in the Global South often rely on information-driven or compliance-oriented campaigns that rarely engage youth in meaningful
behavioural change (Fernando, Kumara, & Jayathilake, 2020). Recognising the importance of youth as future decision-makers, this project explores how interactive storytelling can serve as a systems thinking tool to promote conservation awareness among Sri Lankan youth aged 15–30. Drawing on Fritjof Capra’s “web of life” perspective (1996), which emphasises interdependence and feedback within living systems, the research investigates how narrative choices and visible ecological consequences can help young audiences understand the interconnected nature of ecosystems and their role within them. The project situates itself at the intersection of communication design, systems thinking, and conservation education, offering an innovative model for transforming complex ecological concepts into emotionally resonant, playable experiences.
The main aim of this study is to translate systems concepts—such as interdependence, feedback, and trade-offs—into an interactive narrative format that fosters awareness and learning through player engagement. This approach is grounded in existing literature that identifies choice-based narratives as powerful vehicles for education and empathy (Gee, 2007; Mateas & Stern, 2005). Interactive storytelling allows participants to act as co-authors within simulated environments, experiencing the consequences of their actions in real time. Within conservation contexts, this format can highlight the delicate balance between human activity and ecological stability. Localising this experience to Sri Lanka was essential, as cultural familiarity enhances emotional resonance and behavioural intent (Bandara, Perera, & Gunasekara, 2021). Thus, the project aimed not only to engage youth cognitively but also to evoke empathy toward non-human life and promote reflective understanding of ecological interdependence.
Methodologically, the project followed a design-led research process informed by iterative prototyping and user feedback. The design inquiry progressed through three prototype stages—paper, clickable, and refined—each testing how effectively players could perceive ecological feedback following their in-game decisions. The final interactive story featured four main decision nodes with two primary outcomes each, resulting in approximately fifteen narrative screens. Every decision generated immediate visual or textual feedback, such as colour shifts in habitats, biodiversity indicators, or changes in human–wildlife conflict data, followed by reflection prompts encouraging players to consider wider system effects. A compact evaluation study was conducted with sixteen Sri Lankan youth aged 19–24, using pre- and post-surveys alongside focus group discussions. The research assessed gains in conservation understanding, emotional engagement, and systems-awareness indicators. Through these iterative cycles, the design evolved to better communicate ecological cause-and-effect relationships in a manner relatable to the Sri Lankan context.
The analysis revealed significant improvements in participants’ conservation knowledge, approximately a 25% increase between pre- and post-survey scores—and higher engagement ratings across all participants. Qualitative findings indicated three recurring patterns in player responses: empathy toward both human and non-human characters, recognition of interdependence, and understanding of trade-offs between short-term human gains and long-term ecological health. Participants frequently articulated how visible feedback deepened their systems awareness, with statements such as “one choice can disturb the whole system.” These insights demonstrate that when ecological feedback is made visible and emotionally grounded in local context, players are more likely to internalize conservation values. The results were distilled into three guiding principles for future design practice by make feedback visible,stage consequential tradeoffs, and localise emotion. Together, these principles provide a framework for designing interactive conservation media that connect cognitive learning with emotional and ethical understanding.
This study contributes to design research and practice by positioning interactive storytelling as a systems-thinking tool that bridges education, communication design, and environmental conservation. It demonstrates how feedback-based narrative structures can translate abstract ecological concepts into concrete, emotionally engaging learning experiences. The findings suggest that interactive media can serve as an accessible platform for conservation education, particularly among youth populations who are already digitally literate. Moreover, this approach can inform future integration of interactive storytelling within design education, NGOs, and community-based conservation programs in Sri Lanka. The research underscores the importance of culturally contextualised narratives that encourage reflective agency and promote sustainable attitudes toward nature. Future work may extend this framework to explore long-term behavioural outcomes, scalability across other conservation topics, and comparisons with linear educational media.
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Integrated Design Research Journal Vol. 02, Issue 01 (Pre-Text)
(Integrated Design Research, University of Moratuwa) Samarawickrama, S
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Society, culture, architecture: impressions in Ahmedabad
(Integrated Design Research, University of Moratuwa) Nair , N
The historical landscape of India is woven from texts by scholars, rulers' biographies, travelogues, and folklores. A deeper search into the cultural identity of a place is facilitated by studying architecture, material and construction, motifs and ornamentations. The city of Ahmedabad, an important royal capital of western India of the Gujarat Sultanate in the fi fteenth and sixteenth centuries, is a suitable case study. This research investigates how the structures in Ahmedabad refl ect the stories of their patrons, socio-political context, mythology, religion, textiles, and craftsmanship. The study uses the Ahmed Shah Mosque (1414 AD) and Rani Sipri Mosque (1514 AD) as its cases. With a focus on motifs and ornamentations, the paper unveils the stories of how the city of Ahmedabad developed economically and politically, how the patrons changed from kings to queens, how the method of construction evolved from a method of assemblage to a detailed design process and how the Indo-Islamic architecture of Gujarat has its provincial influences deeply ingrained in each motif while respecting the sensibilities of the religions. The research adopts a multidisciplinary approach, combining archival research and photographic documentation to discuss the relationship between design, architecture and cultural identity.