The article describes the use of publicly available materials of radar mapping from spacecraft as a way to increase the reliability, as well as to reduce the cost and time of work to select the site of linear construction projects situated in remote underdeveloped areas. Based on the results of theoretical study and practical application of radar mapping of the Earth's surface from spacecrafts the conclusion is made about the availability of these materials, their reliability (relevance) and accuracy in order to select the site of linear construction projects at the concept design stage.

The last three decades have witnessed in Europe an increasing interest from institutions, and creative communities in independent research connected to crafting, DIY, maker culture, and design activism. A new generation of designers has focused on the experimentation of processes, materials, and technologies used as a vehicle for socio-political and environmental messages and as the starting point of solid narrative projects. This paper aims to analyse this phenomenon inside the niche of Collectible Design, a field in recent years of great interest by galleries and institutions for its ability to embrace material and technological research as well as craftsmanship and art. We investigate the phenomenon, through a series of interviews with designers such as Shahar Livne, Eugenia Morpurgo, Pleun van Dijk, Tellurico, and Standard 404, selected for their ability to use experimental materials and technologies, as communicative media for reflections on systemic issues.

This Practice-based research explores the innovative application of textiles in the creation of decorative flower vases, positioning them at the intersection of functional design and contemporary art. The study investigates the potential of techniques such as weaving, embroidery, and applique to transcend the conventional boundaries of the medium. Through a methodological framework combining material experimentation interviews with textile artisans and pottery producers in Accra, and critical reflection, the research examines the interplay of materiality, form and aesthetics. It integrates traditional Ghanaian motifs with modern design principles to create culturally resonant, sustainable artworks. The findings demonstrate textiles' significant versatility and creative capacity for producing unique decorative objects. This study contributes to discourses on material innovation and sustainable design by highlighting textiles as a dynamic medium for artistic expression. It offers practical insights for artisans and designers, underscoring the role of textiles in evolving traditional crafts for contemporary contexts.

Bead jewellery is common in all Ghanaian communities. Bead jewellers are well-known for their important bead jewellery production and have advanced to the Master craft level. The industry can be utilized if the industry's difficulties are discovered and remedied. The study area for the research includes Ghana's Eastern, Ashanti, and Greater Accra Regions. The study's population included bead jewellers, bead jewellery firms, bead dealers, bead aficionados, clients, and bead makers. With a sample size of 30, data was gathered mostly through direct observations, interviews, and document reviews. The study went over the procedure for securing land for a bead jewellery workshop. According to a survey conducted by the Ghanaian Chamber of Commerce and Industry (GCCII), Ghanaian bead jewellers should use qualified designers. Cost pooling in legal services, accounting, and consulting is likely to save money.