The movement of designed objects is not just something purely functional but also triggers a wide range of sensations. A curtain swaying gently in the wind can cause the onlooker to feel easy and relaxed, as if it was he or she who is floating in the air. This imagined projection caused by the perception of moving objects is called "kinesthetic empathy". In this study, which followed on from a dissertation at the School of Design Research in London, the author investigates the esthetics of movement by documenting his own design-based learning and research process in terms of "research through design", using the experimental cooperation with puppet players as an example. He thereby creates a framework that allows designers to observe the esthetics of objects in motion as a trigger of feelings.The movement of designed objects is not just something purely functional but also triggers a wide range of sensations. A curtain swaying gently in the wind can cause the onlooker to feel easy and relaxed, as if it was he or she who is floating in the air. This imagined projection caused by the perception of moving objects is called "kinesthetic empathy". In this study, which followed on from a dissertation at the School of Design Research in London, the author investigates the esthetics of movement by documenting his own design-based learning and research process in terms of "research through design", using the experimental cooperation with puppet players as an example. He thereby creates a framework that allows designers to observe the esthetics of objects in motion as a trigger of feelings.Die Bewegung von gestalteten Objekten ist nichts rein Funktionales, sondern sie ruft vielfältige Empfindungen hervor. Ein Vorhang, der sanft im Wind bewegt wird, kann den Betrachter sich leicht und entspannt fühlen lassen, als ob er selbst in der Luft schwingt. Diese imaginierte Projektion als Folge einer Wahrnehmung bewegter Objekte wird "kinästhetische Empathie" genannt. In dieser Studie, die aus einer Dissertation an der School of Design Research London hervorging, untersucht der Autor die Ästhetik der Bewegung, indem er, etwa in der experimentellen Zusammenarbeit mit Puppenspielern, den eigenen gestalterischen Lern- und Forschungsprozess als research through design dokumentiert. Er entwirft so einen Rahmen, der Designern die ästhetische Betrachtung von bewegten Objekten als Auslöser von Gefühlen ermöglicht.