The Making of Other Worlds takes its starting point from the many ways humans, nonhumans, and matter have been understood to relate to one another across most of the world's cultures, largely bypassed by the modern Western separation of nature and culture. The ontological turn in anthropology has made the point that these are not minor or partial versions of a single, universal nature — each cosmology is a full world in its own right, to be read on its own terms and situated in its specific context. Recent thinking pushes this further, from reading other worldviews toward actively composing new ones: Donna Haraway's speculative fabulation and multispecies worlding, Rosi Braidotti's nomadic, posthuman subjectivity, and the cosmopolitics developed by Isabelle Stengers and Bruno Latour — the practice of assembling a common world out of many, non-reducible ones — all treat cosmology as something constructed in practice, not simply inherited or recovered.

This raises a fundamental question for architecture, landscape design, and spatial practice: what design methods emerge when several cosmologies are taken as equally real conditions to design within, and how does a design practice change when it has to assemble across worldviews rather than operate from a single one