This chapter investigates the role of gestures in constructing an aesthetics of bodily relations and knowledge through creative interactions that are based on daily habits. Beginning with an outline around the significance of gesture in design and performance studies, I propose a theoretical framework discussing gesture as embodied knowledge, referencing foundational philosophers such as John Austin and Ludwig Wittgenstein. The Gesture Laboratory section provides an overview of the experimental environment co-directed with choreographer Mélanie Perrier, detailing the Living Corpus Protocol, which nurtures consensus through collective activities. Following Yuriko Saito’s perspective on everyday aesthetics, this chapter emphasizes the importance of ordinary, often overlooked gestures in shaping our aesthetic sensibilities. The Living Corpus benefits also from Arnold Berleant’s concept of environmental aesthetics and Thomas Leddy’s concept of “neatness”—a quality that emerges when things are “just right.” Gestures influence not only the performing and the creative arts but also the aesthetics of everyday life; they contribute to the aesthetic perception of objects and activities encountered in daily routines. Because of this embedded approach, the chapter critiques traditional notions of truth and proposes that meaning arises from somatic awareness and plural experiences. It emphasizes the implications for performance studies and design practice, culminating in an aesthetic understanding of gestures as vital tools for research-creation. The investigation extends the possible meanings of the protocol to a few emblematic design concepts and theories such as Bruno Munari’s concept of “progettazione,” Victor Papanek’s low-impact design, Andrea Branzi’s idea of “weak and diffuse” design, and Tony Fry’s concepts of “defuturing” and “redirective practice.” This practice-based analysis allows for a comprehensive exploration of how gestures shape our understanding of art, knowledge, and everyday experiences.