Focusing on a specific case, the postgraduate course Product Service System Design taught in English to Italian and international students of the Design Faculty at Milan Polytechnic, the author reflects on the present and future of designers as “reflexive professionals” (to quote Donald A. Schön) called upon to act in uncertain and vaguely defined contexts, tackle problems in highly original ways and come up with wide-ranging, experimental and innovative solutions resorting to complex and hybrid techniques and tools either purposely designed or taken from other fields.

Healthy Region Cuneo is a healthcare innovation project that was initiated in the summer of 2008 for the Italian regional health system of ASL CN1. The project proposed new design strategies and solutions that addressed the local healthcare needs of the citizens and care providers of the region of Cuneo.

Copenhagen Institute of Interaction Design (CIID) was founded by Simona Maschi and Heather Martin in August 2006. With an aim to build an international centre of excellence in interaction design and innovation, CIID incorporates three elements –education, research and consultancy– that together explore new thinking in design and technology.

The following text is a transcript of a talk by Gillian Crampton-Smith at Innovation Forum Interaction Design, Potsdam, March 2007. The aim of the two-day conference was to focus on all aspects of interface and interaction design: mobile telephone and media interfaces, problem solutions and product visions, web pages and virtual worlds, art and commerce, business and science. Using both concrete projects and visionary concepts, current developments in interaction design were presented and discussed by regional and international experts from the design, research and business worlds.

Design, a magnificent advancement tool for any group activity that is focused on social improvement, will find it difficult to point in this direction while we live in an economic system whose main objective consists of obtaining profits for private capital.

This article presents an approach to user involvement that allows confronting the designer’s rationale with society’s motivations and values. This approach is specifically tailored for design processes aimed at societal transformation. In this approach, user involvement is considered as a constructive process, rather than a destructive process. More precisely, it is defined as a co-reflective session between designers and users that starts by sensitising to construct the user’s desired reality in order to confront it with the designer’s rationale.

David Kester has directed a research programme promoted by the Design Council in order to analyse the effects of investment in design on the evolution of companies in the United Kingdom that are listed on the stock market. It is well known that the United Kingdom's design capacity places it at the forefront of the global experience. But, so that design is applied to companies, confidence must be increased in terms of its potential and precision in the measuring of its contributions. Companies must justify investment made in all their commercial activities and specific repercussions on productivity and profitability must be measured. This study also aims to establish objective global mechanisms to identify those companies that are active and effective design users, as well as compare their overall results with other companies listed on the stock market, thereby extending our understanding of investment and the value of company capitalisation. The study's conclusions state that companies that apply design effectively do better than the rest. There is therefore a direct relation between the effective application of design on the part of companies and an increase in performance in the share price and, consequently, in the increase of profits for shareholders.

In the face of social problems of ever-increasing complexity, businesses have become interested in the thought process of designers, two important aspects of which focus on users and systems thinking. Business education, in turn, can benefit by adopting some of the concepts and methods designers learn. These include learning how to frame problems, conduct ethnographic research, reason abductively, synthesise information and collaborate in groups. Teaching methods need to be practically focused and reflective. As an example, a design course taught in an Austrian business school helped transform students’ perspectives.

Professional doctorates emerged in the 1990s in the United Kingdom and Australia as a response to a range of institutional pressures in mass higher education at the postgraduate level. Globally alternative doctoral programmes including (creative) project work have developed which purport to address professional and practice values in creative arts and industries, including design, more adequately than the traditional PhD. However, given the questionable ‘professional’ status of design as such, should institutions encourage such courses?

Launching point for digital and electronic art -bioart or a-life art-, engineer and techno-artist Natalie Jeremijenko “plays” with artificial intelligence and biotechnology, carrying out several social practices from activist art into the high-tech world. This art has its roots in social movements connected to new media.