"Book Review"

Annapaola Vacanti is a Ph.D research fellow at Università Iuav di Venezia, Italy. Her research focuses on Human - Technology Interaction, exploring the intersection between human factors, technological development and the latter's social and ecological impact. She is also the organizer and art director of TEDxGenova.

Achieving gender and sex equity in design is a process that requires awareness, sensitivity, data, and dialogue with practitioners from (many) other disciplines and the people for whom we are designing. Isabel Prochner, an assistant professor of industrial design at Virginia Tech University, paves the way for achieving such equity through an insightful and pragmatic book. The book provides real-world examples of projects that already aim to address inequality and injustice from the disciplinary framework of gender studies. Such information comes from original interviews conducted by the author, representing a unique research approach for gathering insight into the field of designing for diversity.

Prochner begins the book reminding us that ‘all design is biased’. Before diving into the applied design cases, the introductory chapter provides an overview of the concepts of sex and gender – which are still too often confused and misused – and how they relate to other intersecting identity systems such as race, class, ability, age, etc., causing many people to be subjected to unique forms of oppression. Queer and feminist theories are then proposed as the main theoretical frameworks for the research work. From such premises, the following chapters thoroughly describe how diverse design practices can be leveraged to achieve more equitable conditions for different groups.

Several chapters are focused on those who have female bodies and struggle to find products suitable for them. For example, female users are often overlooked when designing personal protective equipment (Chapter 2), because that kind of gear is usually modelled on male measurements, resulting in fitting issues and less effective protection from hazard. The chapter highlights the potentially deadly implications of these design gaps, explaining how anthropometric data and standard regulations need to evolve and adapt. Intersectionality is pivotal in such matters, and a positive case history is presented through the experience of a company providing masks that are specifically designed for different ethnicities and faces.

Another relevant matter regarding female users is discussed in Chapter 5, where the focus is on the role of design in overcoming existing norms surrounding sex and female pleasure. In this context, socio-sexual taboos make it hard for designers to have a striking impact. Nevertheless, relevant case studies such as inclusive dating apps and sexual education apps are spreading in an effort to support female, transgender, and disabled people’s pleasure. Chapter 6 delves into the complex relation between design and female bodies by focusing on sportswear. The paradox that women get criticism both for wearing too much and too little is especially evident in sport, and the matter gets even more complicated when it involves women of faith, who struggle to find modest sportswear that can allow them to compete in their preferred disciplines without renouncing their religious beliefs. Prochner describes the design process of modest swim clothes and sport hijabs, highlighting the need for careful user research and thoughtful reflection.

The focus switches on male identifying users in Chapter 4, which brings to light through data evidence on depression and suicide in high-income countries how men's struggles with mental health are often overlooked and untreated. Men show different symptoms than women and are culturally less prone to look for professional support. Although noting that masculinities are plural and socially constructed – the same as femininities – Prochner discusses how a gender-specific design is needed in this case, and how the matter is being approached through e-mental health services and interior design for in-person treatment.

Other chapters move away from gender-specific areas of intervention and describe a multifaceted scenario where the design practice emerges as a valuable support for overcoming gender binarism and allowing everyone to equitably develop their uniqueness. This matter is especially evident in the discussion around the design of toys (Chapter 3), which has a great and long-lasting impact on the development of children identities. Design should offer a wide range of toys, avoid representing extremes like hyper-femininity and hyper-masculinity, and offer playthings that encourage children to explore and learn new skills. Another key takeaway from this chapter is the need to give representation to transgender and gender-diverse identities, which can be done easily – for example – in video games.

Another area in which design can be incredibly inequitable, or have a great potential for positive change, is digital technology. In the era of AI, the anthropomorphised technology is as strong as ever, and, intentionally or not, it draws on gender stereotypes (Chapter 7). Prochner gives an insightful overview of the development of virtual assistants, highlighting how strongly biased their responses were in the past, and how big companies had to take responsibility and more accurately design their synthetic reactions. Equitable change is possible and is being led by independent projects (such as a gender-neutral AI voice) and feminist hackerspaces.

Chapter 8 highlights how beauty and personal care products are among the most sexed and gendered products on the market, depicting a complex, intersectional scenario in which sex and gender are deeply intertwined with beauty norms and cultural representation. Design that embeds gender expectations, racism, colonialism, ageism, and ableism is no longer acceptable, as it has a devastating impact on anyone whose body is farthest from the supposed ‘ideal’. 

The last chapter aims to draw a synthesis of the overall body of work, clarifying that designers should address sex and gender in many ways, as it makes most sense in their specific context. Effective strategies include both deaccentuating and accentuating diversities. Prochner brings more examples and case studies, discussing how unisex and gender-neutral approaches may not be successful in certain situations, particularly because they suffer from a hard-to-root-out masculine bias. Therefore, multi-sex and multi-gender approaches could offer more tools for designers who aim to increase representation, education and social support, and gender-affirmation through their practice.

Designing for Sex and Gender Equity serves as a practical guide that brings the extensive insights of feminist and queer studies to application in design. It leverages empirical research and the teachings from Prochner's many interviews to present readers with the necessary tools to act. It can also be an effective entry text for designers to deepen their studies on specific areas such as technology, safety, beauty, etc., from the lenses of equity and inclusivity.

Designing for Sex and Gender Equity
by Isabel Prochner
Routledge
https://doi.org/10.4324/9781003306320

Michael Kibedi is a design researcher and writer. He holds a Master's in Human-Computer Interaction Design from City, University of London. Michael has interdisciplinary interests across academic and artistic research that address human-computer interaction, conceptual art, Black studies, and data justice.

Design Social Change started life as a cookbook. Before writing the book, the author, Lesley-Ann Noel often asked her class 'Can we cook up change?' to visualise how design contributes to making change happen. The metaphor of cookery speaks to our shared understanding of preparing a favourite meal. Design relies on many methods (or ingredients) that must be applied in a controlled manner so we end up with an outcome that matches our vision (or dish). In Design Social Change, we are invited to accompany the author on a journey to rethink not only how we design, but also why we design — and how we strive towards equitable social change.

Lesley Ann-Noel, an assistant professor in Design Studies at North Carolina State University, draws on her scholarly research, teaching and lived experience to question the status quo that stubbornly refuses to budge within design — how white supremacy fixes normative standards; how patriarchy upholds structural inequality; how ableism frames disability as a personal rather than social inequity; how heteronormativity produces data injustice and exclusion. We have undoubtedly witnessed discriminatory outcomes occurring from many “magical” solutions that promise impartiality, efficiency and fairness. Noel not only asks us to consider how design should evolve to counter these scenarios — but, more importantly, she challenges us as practitioners to define our positionalities, so we are more critically aware of the scenarios in which we labour, and the structural changes we plan to make. Achieving social change means dreaming differently about alternative futures. In Design Social Change, Noel gives us a guidebook in taking our first steps towards reaching this goal. 

Design Social Change is a compact volume split into three sections. In addition to the essays, each section contains practical steps for applying theory (Your Turn) and a space for deeper reflection (Take Note). Noel has also chosen the accompanying art with care, using the work of Trinidadian artist Che Lovelace. His paintings echo the teaching in each section, while also providing a visual reminder of the richness of Trinidad’s culture and history. The compact dimensions (and make no mistake, the compact size should not belie the richness of the lessons in this book!) and vibrant artwork used throughout communicate that this is not a text to be left on a shelf, or forgotten once read.

The first section “What’s Wrong?” is concerned with helping the reader establish critical awareness and identify their positionality. Feminist theory is utilised to show us how to critically look at ourselves and question our personal, cultural, social and political selves. We can then map out our combined advantages and disadvantages, and recognise how they might show up in our work or bias our thinking. This rich lineage of feminist scholarship — including Donna Haraway, bell hooks and Patricia Hill Collins — helps the reader perceive structures, power and how they interact with our person. Adapting the work of Paulo Freire, a Brazilian educator, we are guided towards achieving a newfound clarity so we can become more critically self-aware. We are not individual contributors working on that shiny new design in isolation — but rather, our labour occurs within a structural system which advantages and disadvantages us differently across many facets of our ever-changing identities.

The second section “What Does It Feel Like?” seeks to help us deepen our emotional intelligence. For an industry laser-focused on defining success by metrics and scores, we are invited to consider how the entangled, messy reality of social change needs us to pay more attention to our emotions. An immediate emotional response may be to feel anger when first confronted with the realisation that structural injustice and oppression persist. Possessing a deepened emotional intelligence means we become more confident within ourselves to adopt an oppositional viewpoint and challenge the status quo. One of the first skills we learn as researchers is to always ask “Why?” — whether of our participants or research subjects. However, it is much harder to take this approach when contending with decades of ingrained cultural norms that have shaped design practice or confronting exclusionary citational practices that have excluded Black or Indigenous knowledge.

Design Social Change culminates in the third and final section “What World Do You Want to Design?” Possessing a heightened self-awareness and deeper emotional intelligence, we are now ready to take tentative steps towards imagining social change. Starting from the historical example of the abolishment of chattel slavery, we are taught that an abolitionist mindset seeks emancipation, liberation and abolition together, to begin dismantling the interlocking structural oppression of white supremacy, patriarchy, ableism and heteronormativity — it is by breaking free from our existing and structurally oppressive landscape that lasting, meaningful change can begin to be realised. Creative world-building has a long history across many cultures. Examples across many Afrofuturisms have speculatively imagined and worked outside the bounds of oppressive environments that have historically curtailed minoritised communities — a small act of resistance that reaps creative rewards. Noel introduces an adapted framework, Critical Utopian Action Research (CUAR), to show how we can take our first steps in speculative design work to step closer to similar abolitionist futures.

Design Social Change is an accessible handbook that makes years of feminist and decolonial scholarship of immediate and practical use. Empirical research and the learnings from Noel’s taught experience are the basis for making an immediate and compelling call to action. Design Social Change rewards repeat readings, and provides valuable resources to assist in workshops or discussion groups.

Despite these favourable reflections, it should also be recognised that Design Social Change enters an increasingly hostile professional environment; one where some institutions — academic and corporate — are passively, or in some cases, actively undermining advocacy for structural reform and equitable change for minoritised scholars, practitioners and their allies. Designers and researchers who are motivated to challenge the status quo will find a worthy companion contained in the lessons from Design Social Change. However, the uncomfortable truth that some may be forced to confront is that by striving for the abolitionist futures imagined in this book, there may be personal, financial, or career sacrifices in making these dreams a reality.

Design Social Change: Take Action, Work toward Equity, and Challenge the Status Quo (Stanford d.school Library)

146 pp., 6 x 7 in, colour illus.

Paperback

9781984858146

Paperback: November 2023

Publisher: Ten Speed Press

Shriyash Shete is currently working as a Senior User Experience Designer at Zscaler, a cybersecurity firm based in Silicon Valley. He holds a Master's in Human-Computer Interaction Design from Indiana University Bloomington. His work integrates a broad interest in design, technology, and innovation, informed by his unique background in data analytics, industrial engineering and social work. Committed to practicing sustainable and inclusive design, Shriyash engages with ongoing developments in design research, data visualization and emerging technologies.

In Design for a Better World: Meaningful, Sustainable, Humanity Centered, Don Norman once again proves why he is revered as a visionary in the world of design. The renowned design thinker, whose earlier works, like The Design of Everyday Things, have become seminal texts in design research, uses his new book to address broader and more urgent ecological and societal issues, such as climate change, inequality and global wellbeing. Norman collectively terms them as the ‘21st century’ design problems. Design for a Better World urges the design community to steer humanity towards a more sustainable, meaningful, and humane future by working with people, not for them.

In the beginning, Norman clarifies that the scope of this book diverges significantly from his previous works. While his earlier writings primarily focused on usability and human-centered design, Design for a Better World takes a macroscopic view. Norman stresses the responsibility of designers not just to users, but to society and the environment at large. He extends the concept of design beyond aesthetics and functionality, portraying it as a pivotal tool for systemic change.

The central thesis of Design for a Better World is that many of the issues facing modern society are fundamentally design problems that can be addressed through intelligent, systemic design thinking. Norman makes a compelling case that designers have a crucial role to play in tackling systemic challenges like climate change, poverty and more. He points out that while scientists provide key insights about the nature of problems, designers are uniquely skilled at finding actionable solutions.

Herbert Simon’s definition of design is well-known: To design is to devise courses of action aimed at changing existing situations into preferred ones. Norman’s argument throughout the book complements this definition by emphasizing the importance of change in human behavior to drive the course of action as it also envisions the preferred situation for a better world. Through this book, Norman highlights the significance of participatory design with various disciplines such as science, technology, economics, politics and design approach to expand its focus from human-centered design to humanity-centered design.

The book consists of a total of thirty eight short chapters organized into six parts that stem from three overarching themes: 1. Meaningful, 2. Sustainable and 3. Humanity-centered. The author outlines them as three critical causal factors that need to be priortitized and reconstructed with the help of design thinking to reduce many of the planet’s ecological ailments.

In the first part, the author introduces the notion of artificiality to explain the root of the many crises facing contemporary society. He takes the course of history into account that he then holds responsible for bringing us all in this crisis situation. He then adeptly categorizes problems into societal, environmental, and technological realms, stressing the interconnectedness and artificiality of these domains. 

Part 2, 3 and 4 examine the current issues and gradually unfold the main themes of the book where the author discusses how we can transform our lives so that we achieve the goal of producing a meaningful, sustainable and humanity-centered world. Parts 5 and 6 focus on actions that must be taken and why they are not easy to achieve.

One of the highlights of Design for a Better World is how Norman moves fluidly between big picture ideas and pragmatic details. While he presents compelling arguments about design's role in shaping society, he also offers specific suggestions for how designers can incorporate social responsibility into their work. For example, he advocates for the use of design principles like co-creation and democratization to give people more agency over the systems that govern their lives. Norman provides actionable advice for designers, from emphasizing user needs over stylistic trends, to diversifying teams to include more perspectives.

Technology, a recurrent theme in Norman's earlier works, gets a nuanced treatment here. He acknowledges the power of technology in enabling innovative solutions but warns against tech-centric approaches that overlook human and environmental costs. The discussion on AI and automation is particularly insightful, balancing the potential benefits with ethical and societal implications.

A vital chapter of the book is dedicated to education. Norman proposes a radical overhaul of design education, advocating for curricula that foster systemic thinking, empathy, and ethical responsibility. He suggests that design education should not be confined to design schools but should be integrated into various fields, reflecting the interdisciplinary nature of the challenges we face.

In the concluding sections, Norman paints a picture of what the future could look like if his principles are embraced. He envisions a world where design contributes to solving pressing global issues like climate change, poverty, and inequality. This vision is optimistic but grounded in realism, acknowledging the challenges and complexities involved.

While the book offers plenty of optimism about design's potential, Norman balances this with thoughtful critiques of the field. He points out that designers frequently focus on incrementally improving existing products for individual gain, rather than addressing root causes of larger societal problems. For design to live up to its promise, the field needs more socially-conscious practitioners who prioritize public good over profit. Norman offers insights into how design education and practice could be reformed to nurture these types of designers. He also asserts that truly effective design requires collaboration across disciplines, since few problems can be solved through design alone.

Through this book, Norman has done a profound work of framing the complex, ill-defined and wicked global crises that our world is facing today, by keeping human behavior and humanity-centered design at its core. Norman’s thesis lies in his formulation of principles for impactful and humanity-centered design. These principles are not just guidelines but are articulated as moral imperatives for the design community. For instance, he advocates for ‘Inclusivity’, urging designers to consider the broad spectrum of human diversity in their solutions. Another principle, ‘Sustainable Design’, goes beyond the typical environmental focus, encompassing the need for designs that are economically and socially sustainable.

While Design for a Better World is a monumental work, it is not without its shortcomings. Some critics may argue that Norman's principles, though well-intentioned, could be seen as overly idealistic, particularly when confronting entrenched corporate and political interests. Additionally, while the book excels in breadth, certain areas could benefit from deeper exploration, particularly regarding the practical implementation of these design principles in resistant industries and governments.

Through this work, Norman reasserts himself as a guiding light in the design community, offering not just critique but a path forward. Design for a Better World is a worthwhile read for anyone interested in the power of design to drive social change. This book is an urgent call to action, a blueprint for using design as a force for positive change in an increasingly complex and troubled world. Norman’s visionary perspective combined with pragmatic insights makes this work an essential read not only for designers but for anyone interested in the betterment of our global society. 

Design for a Better World: Meaningful, Sustainable, Humanity Centered
376 pp., 6 x 9 in, 8 b&w illus.
Paperback
9780262548304
Published in Hardcover: March 2023
Paperback: April 2024
Publisher: The MIT Press

Review of Ilpo Koskinen’s Design, Empathy, Interpretation
Review by Jules Rochielle Sievert

Jules Rochielle Sievert has been with NuLawLab since 2013. Jules is currently pursuing an Interdisciplinary Ph.D. at the College Of Art, Media, and Design. Jules was an Ambassador for Health Equity at Policy Link. From 2017-2019, Jules was Creative Placemaking Policy Fellow at Arizona State University through the Herberger Institute for Design and the Arts. 

Ilpo Koskinen is a respected figure in the world of design research, known mainly for his contributions from a Finnish perspective. In his previous work, Koskinen has explored a wide range of design research topics, including the relationship between design and social responsibility, the role of empathy and interpretation in design, the importance of user-centered design, and the use of participatory design and action research in design.

In his new book, Design, Empathy, Interpretation, Koskinen brings together elements of Finnish design history to explore the relationship between empathetic and interpretive design with the more grounded methodologies of participatory design and action research. He does this to show how these methodologies have been used to create products and environments that are both functional and meaningful, and to highlight the importance of user-centered design, social responsibility, and environmental sustainability.

Koskinen presents a perspective on interpretive design research by examining the historical development of an empathetic design research team based in Helsinki, Finland. He unveils a framework comprising four sensitivities central to interpretive design research: human sensitivity, technique awareness, collaboration acumen, and design proficiency. Koskinen underscores the capacity of empathic design to showcase the potency of interpretive ideas within the design realm. He also emphasizes that this approach complements scientific and artistic methodologies, resonating with the broader design research landscape. In the latter portion of the book, Koskinen broadens his focus to assess the wider implications of the empathic design practices. He explores its impact on research communities that have shifted away from their initial technological emphasis, probing how an interpretive framework can be applied to diverse topics.

Koskinen's approach in this book is to focus on one of these recurring themes, known as the interpretive framework. He scrutinizes how this framework has influenced individual studies and how it continues to impact research in different situations. The key strength of this book's methodology is its meticulous tracking of how this framework has evolved while staying sensitive to the unique contextual factors involved. This method enriches the book's analysis compared to earlier studies, including Koskinen's previous work, which might have missed the contextual aspects when examining research under similar conditions. Design, Empathy, Interpretation, builds on his previous work by providing a more in-depth exploration of the relationship between empathetic and interpretive design, participatory design, and action research. It also offers new insights into how designers can use these methodologies to create products and environments that are both functional and meaningful in the 21st century. Koskinen uses design history to provide a rich and nuanced understanding of the evolution of empathetic and interpretive design, participatory design, and action research. By tracing the development of these methodologies over time, he illustrates how they have been used to create products and environments that are both functional and meaningful. Empathetic design in Finland, characterized by its user-centric focus, dovetails with the ethos of participatory design. Its adaptive nature, informed by continuous user feedback and ecological considerations, mirrors the responsive approach of action research. 

In this new book, Koskinen writes that by 2010, codesign had become the predominant approach for the Finnish empathic group, building on the foundations of user-centered design while evolving into a more collaborative research process. This shift involved relinquishing the traditional authority of the designer and adopting a more egalitarian process. The group began seeing itself as a facilitator of change rather than a driver, emphasizing a democratic methodology that downplayed the notion of designers as experts. Codesign also became more seamlessly integrated into various contexts, such as government agencies, medical settings, or global corporations. Unlike action research, it resonated well with designers, offering powerful tools for managing stakeholders, even though the exact reasons for its effectiveness remained unclear. Koskinen exemplifies the codesign approach with Katja Soini's Living Cycles of People and Buildings project (IKE; 2004–2005). Funded by the Ministry of Environment, this initiative aimed to transform major apartment renovations into a resident-centered process. Soini led a series of 17 workshops that brought together diverse stakeholders to innovate less invasive and costly renovation methods. The workshops effectively bridged industry and government collaboration, expanding the scope of stakeholders involved. Soini's innovative approach involved creating a community of stakeholders with disparate backgrounds and often conflicting interests. She achieved this through a series of workshops, reminiscent of user-centered design, where user data served as foundational material. Participants included inhabitants and their organizations, city and government officials, and builders. Over the subsequent two years, the project instigated changes in national renovation statutes. Government ministers adopted several ideas from the report, leading to 51 government-funded renovation projects and experiments.

Two additional influences emerge from the book: the profound impacts of the ArtCenter College of Design in Pasadena, California and the visionary contributions of Grant Kester. 
Grant Kester commands a prominent position in contemporary art theory, specializing in relational aesthetics, socially engaged art, dialogical art, and community-based practices. His particular interest lies in art forms that actively engage in direct dialogue and collaboration with specific communities or interest groups. His book, "Conversation Pieces: Community and Communication in Modern Art" (2004), meticulously dissects various interactive and community-based art practices. Kester asserts that these participatory art forms herald a novel, more inclusive model of aesthetic experiences, fundamentally shifting the perception of art away from conventional object-based analysis toward one firmly rooted in shared dialogues and collective experiences.

Koskinen describes how a research trip to the ArtCenter College of Design (ACCD) was instrumental in breaking away from the constraints of user-centered design. The ACCD is a revered institution that has consistently nurtured exceptionally talented individuals who have ascended to leadership positions across a spectrum of creative fields. Its unwavering commitment to a rigorous curriculum and the cultivation of innovation has yielded a cadre of graduates who have left an indelible mark on the realms of art, design, and associated industries.

Koskinen and his colleague, Tuuli Mattelmäki were particularly impressed by the Super Studio, a yearlong research class that emphasized design imagination over social science methods. Moreover, the ACCD's emphasis on fostering interdisciplinary collaboration and exploration has sent ripples throughout the creative world. Koskinen and Mattelmäki were particularly intrigued by the Super Studio's distinctive approach, which diverged from conventional social science methods and instead hinged on the power of design imagination. This unconventional pedagogy is evident in one project aimed at uncovering how people perceive nature in the urban sprawl of Los Angeles. In a departure from the ordinary, students undertook an ingenious experiment: they adorned the windows of select homes with transparent film and equipped participants with markers, tasking them with capturing the essence of the natural sounds they encountered. The results were a symphony of diverse observations, ranging from the soft cries of babies and the playful barks of dogs to the rustle of the wind and the presence of coyotes in the distant foothills. This compelling example provides profound insights into how the Super Studio boldly challenged the conventional demarcations between design and research. It underscored that these students were not confined to the use of conventional social science methods for mere data collection; instead, they leveraged their design acumen to forge innovative pathways for comprehending the intricacies of the world around them.

Ultimately, Koskinen argues that design interpretation is about understanding the meanings that users associate with products and environments. He believes that every product or space tells a story, shaped by cultural, social, and individual narratives. His interpretive design methodology takes a deep dive into these narratives to understand how users interact with products and environments and what they mean to them. He defines design empathy as the ability to understand and share the feelings and experiences of users, arguing that empathy is essential for design interpretation, as it allows designers to see the world from the user's perspective and to understand the meanings that users associate with products and environments. For Koskinen, empathy in design is a deeper engagement with the user’s world, encompassing the immediate needs and the cultural, emotional, and social contexts that shape those needs. It’s about immersing oneself in the user’s environment, experiencing their world, and translating that experience into design solutions.

Building on Koskinen's definition and application of design empathy, which highlights the reciprocal nature of interpretation in design, it becomes evident that this approach lays the foundation for a more profound connection between designers and users. This connection extends beyond the initial design phase, permeating the entire product lifecycle. Designers, armed with a profound understanding of how users engage with their creations, are better equipped to iterate and refine their designs to align more closely with evolving user needs and desires. For Koskinen, interpretation is a two-way street. On the one hand, designers interpret the world of users, trying to understand the stories, values, and meanings that users attach to objects and spaces. On the other hand, once a product is out in the world, users interpret it, creating their own meanings, stories, and emotions. Koskinen emphasizes the importance of this cyclical interpretive process in design. By understanding how users interpret products, designers can create solutions that are more aligned with user narratives, leading to products that are not just functional but also meaningful. In Koskinen’s view, empathy bridges the gap between designers and users. It facilitates a dialogue where designers become active listeners, absorbing nuances that might be lost in traditional design processes. This empathetic approach ensures that the final design outcomes are functional and emotionally and culturally resonant.

In Design, Empathy, Interpretation, Koskinen presents a captivating and thought-provoking book that taps into a wealth of historical knowledge and research. This book not only fills gaps in what we know but also weaves a compelling story, making a significant contribution to the field of design research. If you're interested in gaining a deeper understanding of Finnish design philosophy, this book is both insightful and essential. What sets it apart is that it seems to be the first publication entirely dedicated to thoroughly exploring the evolution of design research. It does this by conducting a deep dive into a single, user-centered design research program. Providing a pressing, contemporary application of his methodology to current crises, Koskinen highlights that we are at the precipice of an environmental disaster and urges that it is urgent to address ecological concerns, stating that interpretive and empathetic design are now challenged to expand their focus to include post-humanism. This approach in design research aims to understand human identity in its intricate web of relations with technology and nature, inviting us to think beyond traditional anthropocentric views and consider broader ecologies and non-human entities. Koskinen concludes the book with an impassioned plea for the enduring relevance of interpretive design research, highlighting its critical role in the ever-evolving landscape of design and research.

Design, Empathy, Interpretation: Toward Interpretive Design Research
By Ilpo Koskinen 
MIT Press
Open Access and $35.00 in Paperback