It seems that society has got stuck in a position where user choices determine the way we are going to live in the future. The practice and education of engineers depends on short term effects rather than longer term social responsibilities. Culture is no more than a market, where politics is the façade and the city the setting. Rather than return to the old school of high quality engineering, or demand new intelligence from engineers we demand new forms of social engineering. Where will this lead to?

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.

This paper considers the status of design research and underlines the importance of setting up clear objectives for doctoral programs within this discipline. For this reason, it compiles a list of key considerations in order to advance towards a consensus in respect to these type of academic programs.

In the economic context of our capitalist societies, design is a tool that is used to increase market share. Nonetheless, there are fractures and contradictions in all systems and designers can work productively with these. One of the great challenges is to obtain professional consistency without sacrificing ethical principles.

The role of design in post-socialist countries still in transition to capitalism has changed dramatically over the last two decades. industrial decline has led to a social legitimacy crisis suffered by industrial designers, who had so far led the sector. Although new forms of designer identities have sporadically emerged, this legitimacy crisis is still apparent and clamours for a radical shift from the traditional image of designers to that of those who are acknowledging new and expanding roles for design. The global financial and economic crisis parallel to the ever-deepening general system crisis in Hungary is an acute reminder of this need.

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.

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.

The article, based on a presentation made at Educating Designers for Global Citizenship, UWC Cardiff, in November 2005, questions the role of design and recognises its potential as a tool of social change beyond a profession intended to satisfy the needs of industrial production, beyond local-global considerations and from the context of a country like India. It argues that design schools must enable hybridization of different creative process and facilitate the development of a community social awareness.

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?

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.