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Sarah Lugthart

Research Group: Situated Art and Design

‘I’m interested in how we can implement situated learning within design education.’

Sarah Lugthart develops ethnographic methods to study immersive XR experiences and explores storytelling as a joint future-creation tool at Caradt. As a PhD candidate at the University of Porto, she blends theory and practice in immersive learning, contributing significantly to digital media and education.

Sarah Lugthart is a researcher within the research group Situated Art and Design. She focuses on situated learning and is interested in developing ethnographic methods to research immersive XR experiences. She is also involved as a researcher with the New Canterbury Tales, a project focusing on immersive storytelling as a design method for joint future creation ( She is a theory tutor at the Master Animation program at the Master Institute of Visual Cultures (MIVC) and recently started as a PhD Digital Media candidate at the University of Porto. Alongside her work at the academy Sarah is a committee member of Immerse\Interact (Dutch Film Fund). She lives in Antwerp.


Sarah Lugthart graduated in New Media and Digital Culture in 2004 from the University of Utrecht. She has been programme manager at different cultural institutions, like the bkkc (now Kunstloc), organising workshops, film screenings and network meetings.  Since 2010 she has been working as a tutor at St. Joost School of Art & Design, lecturing on topics such as media theory and digital storytelling. 

Situated Learning & Immersive Storytelling in the Lab

What happens when immersive storytelling projects are developed in the context of a lab? How do students deal with the complexities brought about by the context of a lab? How might working in a lab influence the creative outcomes in storytelling? Are theses outcomes, for example, more immersive or innovative, more grounded in a scientific reality or socially relevant? 

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Lugthart, S. & van Dartel, M. (in press) Designing Situated Learning Environments for Media Design Education: A Case Study, in AIGA DEC, & Zahabi, L. (Ed.), SHIFTarrow.

Lugthart, S. & van Dartel, M. (2021) Simulating Professional Practice in STEAM Education: A Case Study,arrow European Journal of STEM Education, 6(1), 17.

Lugthart, S. & van Dartel, M. (submitted) Designing Situated Learning Environments for Media Design Education: A case study.

Lugthart, S. & van Dartel, M. (2019). Teaching Situated Actions: A case study. In: M. Carmo (ed.) International Conference on Education and New Developments (END 2019)arrow Volume I. InScience Press: Portugal, pp. 202-206.

Lugthart, S., van Dartel, M., Quispel, A. (2017),  Plans versus Situated Actions in Immersive Storytelling Practices, arrowIn N. Nunes, I. Oakley, and V. Nisi, (Eds.) Lecture Notes in Computer Science (LNCS) 10690: Interactive Storytelling (pp. 38-45). Springer: Berlin.

Research Group: Situated Art and Design

Living in cities developed around data and acting within the inscrutable structure of our techno-society demands art and design that can help understand how we relate to these rapidly changing surroundings and to reflect on that relationship. The research group Situated Art and Design responds to this exigency by fostering a situated turn in art and design through a diverse portfolio of interdisciplinary research projects in partnership with academic and cultural partners, as well as with government and industry.

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‘People are the product of their relationships with their environment. It’s important to understand how technological developments influence these relationships.’

Michel van Dartel arrow

‘My practice is situated in between different actors, in this shape-shifting middle many things can happen.’

Tara Karpinski arrow

‘Imagination is the key to a strong inclusive society. Artistic work and situated design can contribute to a better understanding of the other.’

Jenny van den Broeke arrow

‘‘Understanding how creativity and imagination emerge from interactions with our environment will lead to improved innovation processes, tools and technologies.’’

Alwin de Rooij arrow

‘Through an interplay of design and research, the apt questions and necessary tools can be discovered and applied to each research project.’

Antal Ruhl arrow

‘Could experimental sensory translation of art works improve their accessibility for sensory diverse exhibition audiences?’

Eva Fotiadi arrow

‘How can the notion of the ‘script’ be used in a situated design practice? ’

Ollie Palmer arrow

‘The ultimate goal is to provide people with the information, skills and tools that enable them to improve the quality of their daily lives.’

Simone van den Broek arrow

‘Investigating the potential of sensory augmentation to bridge the sensory gap between deaf and hearing.’

Michel Witter arrow

‘For me, the iterative design-research process is an exciting journey towards designs that can transform human consciousness.’

Danielle Roberts arrow

‘The essence of the situated, cinematic experience of dance lies in the mental interaction where the public becomes co-author.’

Noud Heerkens arrow

‘Getting comfortable with ambiguity enables designers to absorb feedback and use it to make better design choices.’

Gabri Heinrichs arrow

‘I look at the ways in which citizens can play an active role in shaping their cities, and how new media and technology can contribute to this.’

Barbara Asselbergs arrow

‘Attention during interaction is personal, not a given fact.’

Misha Croes arrow

All people arrow

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