Furthering Victor Papanek’s Legacy: A Personal Perspective

Cees de Bont

Keywords Abstract Consumerism Design schools around the world often state that they offer instruction on Sustainability topics such as sustainability, inclusive design, and responsible design. Fifty Inclusive design years ago, design scholar Victor Papanek had already begun teaching indus- Design leadership trial designers that they were contributing to consumerism by designing unnecessary gadgets. Papanek urged them to offer more responsible solu- tions to the real difficulties that people face daily, difficulties that spanned a range of problems from physical challenges to societal ones. His works were not appreciated—at all—by his American industrial designer contemporaries, Received but still served as powerful inspiration to European design academics whose May 19, 2020 efforts comprise some of the first PhD work on design. Here I describe Accepted ­Papanek’s writing and inspiration, and note how long it took before influen- August 16, 2020 tial design academics would seek to educate and inspire others based on his work. I have served as dean at three universities where his legacy lives on in teaching and research. I will reflect on some of the recent activities taking CEES DE BONT place under Papanek’s influence at these institutions, and offer a personal Loughborough School of Design and Creative perspective of these developments, and some reflections on the progress in Arts, Loughborough University, UK (corresponding author) light of Papanek’s lessons overall. [email protected]

© 2021 Cees de Bont. Published by Elsevier B.V. on behalf of Tongji University. This is an open access article published under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer review under responsibility of Tongji University.

http://www.journals.elsevier.com/she-ji-the-journal-of-design-economics-and-innovation https://doi.org/10.1016/j.sheji.2020.08.010 263 De Bont: Furthering Victor Papanek’s Legacy

1 Ezio Manzini, “Scenarios of Sustainable Introduction Wellbeing,” Design Philosophy Papers 1, no. 1 (2003): 5–21. In 2005, I became the dean of the Faculty of Industrial Design Engineering­ at 2 Prabhu Kandachar, “Designing for Global Delft University of Technology (TU Delft). A team of three full professors­ — Erik Sustainable Solutions: Challenges and Opportunities,” Sustainability in Design: Jan Hultink, Paul Hekkert, and Imre Horvath — was tasked with identifying an Now! Challenges and Opportunities for inspirational strategy that the entire faculty could get behind. In line with Ezio Design Research, Education and Practice Manzini,1 they proposed the notion of sustainable well-being, which was univer- in the XXI Century, ed. Fabrizio Ceschin, Carlo Vezzoli and Jun Zhang (Sheffield, sally embraced.2 The idea behind it was that designers have a responsibility to UK: Greenleaf Publishing, 2010), 60–76, propose attractive and also sustainable solutions. available at https://bura.brunel.ac.uk/ It was clear then, as it is now, that much knowledge and expertise is handle/2438/6726. 3 World Commission on Environment and required to do that well. Between 2012 and 2018, as the dean of the School Development, Our Common Future, ed. of Design at Hong Kong Polytechnic University (PolyU), I led the Jockey Club Gro Harlem Brundtland (Oxford: Oxford Design Institute for Social Innovation. During that period, we introduced a University Press, 1987), available at https://sustainabledevelopment.un.org/ degree program in social design. Social issues are central to Hong Kong and content/documents/5987our-com- even more so to PolyU, where intense protests became world news in 2019. At mon-future.pdf. the Loughborough School of Design and Creative Arts, where I am currently 4 András Schubert and István Láng, “The Literature Aftermath of the Brundtland the dean, responsible design is an explicit part of the school’s mission state- Report ‘Our Common Future’: A Scien- ment. Even without me pushing these concepts, I find myself time and again tometric Study Based on Citations in in design schools where sustainability, social innovation, and responsible Science and Social Science Journals,” Environment, Development, and Sustain- design are close to the hearts and minds of my colleagues. ability 7, no. 1 (2005): 1–8, DOI: https:// The seeds for sustainable well-being ethos were planted many years ago doi.org/10.1007/s10668-003-0177-5. at TU Delft. A significant event took place in 1987 when the Brundtland 5 Victor Papanek, Design for the Real World: Human Ecology and Social Change Report,3 subtitled “Our Common Future,” was published by the United (London: Thames and Hudson, 1972). ­Nations. It massively raised awareness about sustainability at every societal level and spurred many a scholar into action.4 Victor Papanek, author of Design for the Real World,5 received several prestigious awards, including a Distinguished Designer fellowship from the National Endowment for the Arts in 1988. The following year, he received the IKEA Foundation International Award. Papanek was responsible for introducing several other concerns beyond sustainability into the design debate; design for disability is but one example. His work offers readers his profound intellectual musings and very partic- ular notion of societal aims and purposes, plus the findings from many stu- dent case studies — all of which continues to be a rich source of inspiration. ­Papanek was a professor and head of department at a number of academic institutions, and was a dean at the California Institute of the Arts. These roles require vision, and the capacity to articulate and execute a purpose and direc- tion. It would be difficult to find another scholar whose work has influenced me — either directly or indirectly — as much as Papanek. It is remarkable to me how fresh his inspiration continues to be, even after all these years. In my 15 years as a dean, I have had the honor of collaborating with many design academics investigating issues and topics raised by Papanek, and I have met many exceptional design school leaders who have articulated and imple- mented their own versions of responsible design. This article will provide some much needed background into the life and work of an influential designer whose name is often spoken, but whose work is often not very familiar to administrators of design schools or pres- ent-day design scholars. My first intention is to provide valuable inspiration to people in positions of leadership — heads of departments and deans, as 264 she ji The Journal of Design, Economics, and Innovation Vol. 7, No. 2, Summer 2021

6 Papanek, Design for the Real World. well as others in other fields and domains of activity — since many of Pap- 7 The book had 3388 citations as indicated anek’s views are comprehensive and they are about the essence of design by Google Scholar in July of 2020. 8 Donald A. Norman, The Psychology of as an integral part of society. Given the amplitude of today’s societal and Everyday Things (New York: Basic Books, environmental challenges — which designers have contributed to, directly 1988). or indirectly — there is no choice for designers but to help alleviate them. 9 Victor Papanek, Design for the Real World, 3rd ed. (London: Thames and ­Papanek’s views may support administrators as they discern a guiding Hudson, 2019). purpose for their schools. These views were a great help to me, and they helped me to determine the modules of research and educational deserving priority. My second aim is to describe how design academics at three leading design schools have been actively developing and implementing knowledge and insights built upon the ideas and views put forward by Papanek, thereby adding to his legacy. The article will offer new generations of researchers a clearer picture of how research related to environmental and social sustain- ability has progressed from the early days of academic design research. What I offer in this article is a personal perspective. The studies and au- thors I refer to are important to me in this context, and because of this, the article is in no way a comprehensive treatment of everyone or everything whose contributions have been (in some way) inspired by Papanek’s ideas. Design for the Real World came out in English in 1971, after appearing in Swedish first in 1970, yet the Swedish title was different. The book got translated into Finnish and German (1972) into Spanish (1973) and into French and Japanese in 1974. In the preface to the first edition of Design for the Real World,6 Papanek rightfully asserts that no book on design has ever focused on the designer’s responsibility to the public the way his does. Soon after it came out, it became one the most widely cited books on design, pos- sibly the most cited for several years. The 1972 edition of the book — with an introduction by Buckminster Fuller — has been cited by more authors than any of Papanek’s other publications.7 Don Norman’s now famous tome The Psychology of Everyday Things,8 written in 1988, makes reference to Papanek. Its popularity among academics (as of the writing of this article) far exceeds Design for the Real World. In all honesty, despite the inspiration I feel I have derived from Papanek’s­ work, it has been a long time since I have read his original writings. I wouldn’t be surprised if this was the case for many design academics. When taking a closer look at his work, it is difficult to say which of his many con- tributions deserves the most attention. Table 1 offers a snapshot of some his most highly referenced works, listed chronologically according to their year of publication. The focus of this article will be restricted to the most recent (third) edition of Design for the Real World,9 as it contains the original content plus some reflections by Papanek about that content. In the preface to the second edition that came out in 1985, which also appears in the third edi- tion, Papanek indicates that several chapters from the first edition have been rewritten, and that his predictions from the first edition still hold. He does, however, distance himself from his earlier references to developing countries which tended to be naïve and patronizing. His updated view- point, reflected in the second and later editions, is that much can be learned from developing countries about living patterns, small-scale technology 265 De Bont: Furthering Victor Papanek’s Legacy

Table 1 Book publications by Victor Papanek.

Title Editions Publisher Google Scholar (co-author/contributor) Citations (July 2020)

Design for the Real World 1st ed., 1971/1972 Thames & Hudson, Ltd 3388 (R. Buckminster Fuller) 2nd ed., 1985 3rd ed., 2019

Design for the Real World: Human Ecology 1971/1972 Pantheon Books -- and Social Change*

Design for the Real World: Human Ecology 1972 Thames & Hudson, Ltd -- and Social Change*

Nomadic Furniture 1 1973 Pantheon Books 3 (J. Hennessey)

Nomadic Furniture 2 1974 Pantheon Books 39 (J. Hennessey)

Design for the Real World: Human Ecology 1974 Harper Collins Distribution -- and Social Change* Services

Design for Human Scale 1983 Van Nostrand Reinhold Company 118

Design for the Real World: Human Ecology 1984 Van Nostrand Reinhold Company -- and Social Change*

Design for the Real World: Human Ecology 1984 (2rd ed., 2005) Academy Chicago Publishers 21 and Social Change*

The Green Imperative: Ecology and Ethics in 1995 Thames & Hudson, Ltd 842 Design and Architecture

* Design for the Real World and Design for the Real World: Human Ecology and Social Change share the same contents, and hence any citations would automatically refer to the first edition of the original title. Buckminster Fuller wrote the preface to the first edition of Design for the Real World, and so Google Scholar lists Fuller as co-author of the book.

development, materials reuse and recycling, and the relationship between human beings and nature. Papanek continues to receive attention in the wider design community. In 2019, for instance, there was a Papanek retrospective at VITRA Design Museum, and a Papanek Symposium in September of the same year at the Porto Design Biennale organized by the University for Applied Arts in Vienna. The ICED conference hosted by TU Delft in 2019 had the slogan, “Responsible Design for Our Future,” and the title of the 2019 IASDR confer- ence was, “Design Revolutions.” The organizers, academics at Manchester Metropolitan University, proudly spoke about Papanek visiting their institu- tion. These are just a few examples of his living legacy. To provide a useful foundation for that legacy, this article will answer three key questions: (i) What are Papanek’s key messages? (ii) Who are ­Papanek’s principal influences? (iii) Who has Papanek influenced? I also wish to impart my personal reflections on Papanek’s legacy as the current dean of a design education institution, and former dean of several promi- nent others. 266 she ji The Journal of Design, Economics, and Innovation Vol. 7, No. 2, Summer 2021

10 Papanek, Design for the Real World, 3rd My approach was to conduct a close read of Design for the Real World, 3rd ed. edition,10 to analyze the references Papanek makes to other authors. I also 11 Fabrizio Ceschin and Idil Gaziulusoy, “Evolution of Design for Sustainability: studied other design scholars who refer to Papanek as a source of inspiration From Product Design to Design for in their work. I will not attempt to recount the evolution of design for sus- System Innovations and Transitions,” tainability, as that work has been done.11 My goal is to better understand the Design Studies 47 (November 2016): 118–63, DOI: https://doi.org/10.1016/j. phenomenon of Papanek’s contribution, and how his influence exerts itself destud.2016.09.002. in the works of other design scholars. Above all, I am doing this from my 12 Buckminster Fuller, preface to Design for personal perspective. the Real World, 1st ed, by Victor Papanek (London: Thames and Hudson, 1972). 13 Papanek, Design for the Real World, 3rd ed., 23. What Are Papanek’s Key Messages? 14 Frank Lloyd Wright, “Broadacre City: A New Community Plan,” Architectural The preface of the first edition of Design for the Real World12 talks about three Record 77, no. 4 (1935): 345–49. things industrial designers do that have a very negative impact on society. Each has found its way into the research agendas of design academics. They are • Designing things people do not need, supporting consumerism, • Killing people with unsafe products, and • Depleting resources, adding to waste, and polluting the air.

The same preface also invites industrial designers to be • Innovative, • Highly creative, • Cross-disciplinary (sociology, economics, politics), • Responsive to people’s true needs, • Socially and morally responsible — the idea being that one should not derive financial gain while serving the needs of vulnerable populations or communities, and • Collaborative, especially with the young people living in relevant communities.

After the prefaces, the book is separated into two parts: “How It Is,” and “How It Could Be.” I will now briefly outline the content from both parts that revealed the essence of Papanek’s ideas to me. Papanek says that design is the conscious and intuitive effort to impose meaningful order. The word “intuitive” was only included as of the second edition. Papanek introduces the function complex as a way to arrive at mean- ingful order. The complex consists of six functional requirements or parts: method, association, aesthetics, need, telesis, and use. Each of these can be further broken down into aspects, all of which need to be considered in a design project, because each of them will have desirable or undesirable consequences on our health, the political system, our livelihoods, and the biosphere.13 Telesis, a concept infrequently used in design, is about design reflecting the conditions of the times and the socioeconomic order. The economic pressures of society, as Papanek points out, may not always lead to design outcomes that are desirable for the environment. The function complex is based upon views of movements (such as Bau- haus) and those of thought leaders, such as Frank Lloyd Wright’s assertion that “form and function are one,”14 as well as on Papanek’s own ideas. Some 267 De Bont: Furthering Victor Papanek’s Legacy

15 Papanek, Design for the Real World, 3rd aspects of the function complex, such as gestalt being an aspect of aesthetics, ed., 31. were not very new at the time. Other aspects, such as culture being a com- 16 Ibid., 56. ponent of association, were picked up on by Papanek more than by other scholars at the time, most likely because he had lived in multiple cultural contexts. Some parts, such as need, can be regarded as precursors of user centered design. Papanek provides insightful illustrations of each aspect, but, for design practitioners, where to start designing from the function complex, and how to balance and integrate these very different parts and aspects, is not very clear. Papanek provides a history of the industrial design profession. He con- siders the industrial revolution, and notes that designers’ roles during that era were quite limited; form giving was the central activity. Bauhaus, ac- cording to Papanek,15 was the first movement to consider design as a vital part of the production process rather than industrial arts. During World War II, designers had to meet real requirements of performance, in Papanek’s words. After the war, the lion’s share of designerly activity was devoted to stylistic and artificial obsolescence. Honest design, striving for true sim- plicity, was rare. In the world, the chasm between the haves and have-nots started to grow from 1960. Instead of designing luxury items for a small priv- ileged class and a wasteful society, designers should address the real issues of the have-nots, the sick and the handicapped. Papanek elaborately describes influential artists and artistic movements, and explores the relationship between artists and machines. Papanek himself interacted directly with artists, including Piet Mondrian. He uses this intro- duction to demonstrate how industrial design, different from the arts, aims for functionality and requires precision. Papanek relates a personal anecdote about a project commissioner de- scribing to a designer, Papanek in this case, how important the quality is of the new table radio being designed for the factory workers and their fam- ilies. This anecdote enables Papanek to go beyond quality, and advocates that before accepting any project, a designer should consider whether that new product should be designed at all. In Papanek’s words, any new product should be a social good.16 Social goods help people overcome limitations, for instance educational products (such as a television) for children in devel- oping countries. He offers recommendations about how to address the needs of people in emerging countries, including the suggestion that designers trained in developed countries could move to the underdeveloped countries to train up the local designers. Papanek introduces triangles to provocatively visualize how designers only deal with a miniscule part (only the very top bit of the triangle) of any design problem (which comprises the entire triangle). The real problem (anything beyond the miniscule bit at the top of the triangle) is hence com- pletely ignored by designers. Designers focus on the outer layer of the arti- fact, instead of analyzing the role the artifact plays in its specific social and physical context. He advocates cross-disciplinary design teams in which the designer becomes the comprehensive synthesist who brings the different facets of the problem together. 268 she ji The Journal of Design, Economics, and Innovation Vol. 7, No. 2, Summer 2021

17 Papanek, Design for the Real World, 3rd His concerns about safety and consumerism are discussed in much detail. ed., 256. According to Papanek, we treat objects — furniture, vehicles, clothing, even 18 Alvin Toffler, The Third Wave (London: William Collins Sons & Co, 1980). appliances — as throwaway items (aka “Kleenex Culture”). He goes on to 19 Papanek, Design for the Real World, 3rd say that the amount of junk on the planet is increasing exponentially, notes ed., 91. the destruction of natural resources through mass manufacturing, and 20 Ibid., 188. 21 As a child, Papanek travelled with decries the impact of pollution, including acid rain. Papanek describes the his father from Vienna to Berlin on a toxic waste crisis in the USA17 and the alienation of workers (in a similar Zeppelin (personal communication with way to Alvin Toffler’s description in Future Shock).18 Technological fixes to Jeremy Myerson). pollution have, according to Papanek, sometimes made things even worse. He describes “benign” environmental interferences, such as the building of the Aswan dam or manmade deserts. Papanek’s remedies include the intro- duction of small electric cars, which already existed in the 1960s, electric scooters, affordable houses with access to gardens, walkable shopping areas, and small scale, high yield agriculture. Again, here, Papanek shows that de- signers can act more responsibly by illustrating a student project at Purdue University from 1968 that focused on the use of biodegradable plastics. Designers often do not take essential safety features and potential safety improvements into account, preferring to focus on lowering prices or useless gimmicks. The implications are enormous — in the USA at the time of pub- lication, unsafe home appliances accounted for 250,000 injuries and deaths annually.19 By contrast, the number of highway deaths in the USA was around 60,000 in 1972. Papanek underscores the importance of ergonomics (human factors) for design, especially the sizes, shapes, and capabilities of females, children, and the elderly, rather than simply adhering to the basic shape of young white men between 18 and 25. He draws on the examples of secretarial chair designs, thermometer readability, and furniture for elderly people. Papanek makes a plea for non-conformist, creative thinking. He writes about idea generation as a psychological process — an early description of design thinking, it would seem — including what inhibits and what stimulates creative thinking and creativity. he says that designers must find analogues in biological prototypes and systems.20 To illustrate how breakthrough thinking can address real transportation problems, he cites energy efficient alternatives to current transportation systems including the Graf Zeppelin21 and the cargo sail-ship. He gives multiple examples of bio-­inspired design — one is the Tin Can Radio, which costs $0.09 to man- ufacture, designed with his student George Seegers as part of a UNESCO program in Southeast Asia in the 1960s. Papanek introduces five myths that exist in the design world (and equally viable alternatives): the myth of mass production (small series are needed to accommodate for diversity), the myth of obsolescence (repairs are viable if products are well designed), the myth of people’s wants (we seldom check our assumptions), the myth that designers lack control (designers should question projects), and the myth that quality no longer counts (companies that make high quality products tend to survive). In spite of his criticism of the work designers are doing, Papanek is kind enough to admit that many consumer products are designed with sensitivity and skill in the category of performance products, such as camping products and cooking utensils. 269 De Bont: Furthering Victor Papanek’s Legacy

22 Papanek, Design for the Real World, 3rd Papanek also conveys ideas on design education. For him the bandsaw ed., 291. has no place in a design school — he wants design students to familiarize 23 Peder Anker, “Buckminster Fuller as Captain of Spaceship Earth,” Minerva 45, themselves with more advanced technologies. He advocates experiential no. 4 (2007): 417–34, DOI: https://doi. and interactive learning whereby feedback is given on the spot. According org/10.1007/s11024-007-9066-7. to Papanek, design schools teach too much design and not enough about the 24 Henry Dreyfuss, Designing for People (New York: Allworth Press, 2003). ecological, socioeconomic, and political environments in which design takes 25 Ralph Nader, Unsafe at Any Speed: The place.22 Integrated design is a meaningful link between man and the envi- Designed-in Dangers of the American ronment. He is against vertical specialization. Designers should be trained Automobile (New York: Grossman, 1965). 26 Jay Doblin, One Hundred Great Product as horizontal generalists. Papanek welcomes students with a wide variety of Designs (New York: Van Nostrand undergraduate degrees to postgraduate design programs. Students should Reinhold Co., 1970). travel and take placements, preferably in multidisciplinary settings. 27 Vance Packard, The Hidden Persuaders (New York: McKay, 1957). 28 Rachel Carson, Silent Spring (1962; New York: Houghton Mifflin Harcourt, 2002). Who Influenced Papanek? 29 Alison J. Clarke, “The Anthropological Object in Design: From Victor Papanek Papanek was primarily influenced by leading American architects, including to Superstudio,” Design Anthropology: Frank Lloyd Wright and Buckminster Fuller. According to Peder Anker,23 Object Cultures in Transition, ed. Alison Bucky Fuller adopted the notion of human ecology from sociologists at the J. Clarke (New York: Bloomsbury, 2017), article no. 3, DOI: https://doi. University of Chicago and introduced it to architecture in the 1930s because org/10.5040/9781474259071.ch-003. he saw that the discipline should be in the service of human relationships in the home. Papanek picked up functionalism from Frank Lloyd Wright and Taliesin West in Arizona in the 1940s. Papanek closely followed Buckminster Fuller, a true visionary and systems theorist, and closely interacted with him. In Design for the Real World, Papanek also refers to Henry Dreyfuss, and says his Designing for People24 — the first edition dates back to the mid 1950s — is probably the best and most characteristic book about industrial design. The issue of unsafe products was also raised by Ralph Nader25 in the mid 60s. In terms of design education, certain design schools — the Chicago Institute of Design, for instance, under the leadership of Jay Doblin26 — were talking about denovation (as opposed to innovation), simplification, and elimination as responses to the aesthetic exuberance in industrial design in the sixties. Doblin went on to design a systems solution for multimodal inner city trans- port. Some companies had also adopted human-centered, sustainable ap- proaches by the 1960s. Herman Millar, for example, did research on patient care in hospitals in the 60s, to improve the patient furniture. Beyond the powerful interactions with and education from leading Amer- ican architects, design intellectuals, and design practitioners, three addi- tional types of influences are salient here. Firstly, there are the developments at the academic and societal level that took place in the USA after Vance Packard27 criticized advertising in the 50s, and later in the 60s when Rachel Carson28 helped to launch the environmental movement. In those days, there was a growing interest in consumerism and in the environment, and there was more attention being paid to developing countries. The February 1968 edition of Fortune magazine foretold the decline of industrial designers. Second, there were developments in the Scandinavian design community that influenced Papanek. This included a focus on democratic design (in- cluding DIY design). Third, there were influences at a wider intellectual level. Alison Clarke29 described anthropology as a source of premodern promise. In her words, 270 she ji The Journal of Design, Economics, and Innovation Vol. 7, No. 2, Summer 2021

30 Alison J. Clarke, “‘Actions Speak Louder,’ the anthropological object is untouched by commercialization, applied Victor Papanek and the Legacy of Design aesthetics, and alienating commodity culture. She refers to the Neo-Marxist Activism,” Design and Culture 5, no. 2 (2013): 151–68, DOI: https://doi.org/10.27 philosopher Wolfgang Haug who wrote about designers as handmaidens 52/175470813x13638640370698. of capitalism. 31 W. Fred Van Raaij. “Postmodern Con- Clarke30 also claimed that Design for the Real World was largely inspired sumption,” Journal of Economic Psychol- ogy 14, no. 3 (1993): 541–63, DOI: https:// by the design activism in the 1960s in Finland, and from the Scandinavian doi.org/10.1016/0167-4870(93)90032-G. student design movement, more than from green politics and the North 32 Patricia Conway, “Industrial Design American consumer rights discourse. In my view, these influences may not be USA: Human Systems,” Design Quarterly 88 (1973): 1+5–40, DOI: https://doi. entirely separable. org/10.2307/4090828.

Who Did Papanek Influence?

When Design for the Real World was first published, it was received frostily by the Industrial Designers Society of America. This was instrumental to Papanek’s limited remit. It was not until 1999, after his death, that he was honored by the Society for his contributions to the design profession. A societal reason why it took so long before the design community picked up on the Papanek’s ideas is that after the oil crisis in 1973–1975, most economies recovered well and the design community left doom scenarios behind to define new optimistic futures. Postmodern consumption flourished.31 Many designers and design academics enjoyed progress without bothering too much about environmental and social issues. The academic design journals containing the earliest references to Design for the Real World were Design Quarterly, Information Design Journal, and Environment/Planning & Design. Two of these are no longer in publication. The Environment/Planning archives are difficult to trace, and Design Quar- terly halted publication in 1996. The 1973 issue of Design Quarterly is most compelling. In it, Patricia Conway32 reflects upon Papanek’s ideas by writing about the commercial orientation of industrial design in the period after World War II leading up to the economic crisis in the early seventies. She relates that industrial designers, as advanced by Papanek, contributed to resource depletion and an abundance of useless products — electric hair- brushes, for example — that wound up in dumps and polluted the waters and the air. On top of that, she saw that designers were ignoring old and handicapped populations and created may unsafe products. Designers were focusing heavily on aesthetics than rather than considering other aspects of design. Conway, fully in line with Papanek’s Design for the Real World, recom- mended that designers consider products as services and cross pollinate with other disciplines, including human factors engineering, sociology, anthro- pology, and behavioral psychology, to develop a systems approach to design. Other academic journals that did have papers in the 1970s referring to Papanek range from the Journal of Economic Issues to Administration & So- ciety, Health & Industrial Growth, Quadrant, Interchange, and Technology and Culture. That variety demonstrates the reach of Papanek’s ideas beyond the field of design. Academic research investigating ergonomics/human factors existed long before Papanek’s books came out. Ergonomics and Human Factors, both academic journals, began publishing in the 1950s. In 1970, Applied 271 De Bont: Furthering Victor Papanek’s Legacy

33 Tony Fry, Design as Politics (Oxford: Berg, Ergonomics was born, and numerous studies on ergonomics/human factors, 2010). and on matters pertaining to safety, have been published in these and other 34 Rachel Cooper, “Ethics and Altruism: What Constitutes Socially Responsible journals. Even though Papanek wrote about the importance of ergonomics/ Design?,” Design Management Review human factors, he is not considered to be a leading source of inspiration. 16, no. 3 (2005): 10–18, DOI: https://doi. Journals on ergonomics/human factors emerged in the 50s, but there org/10.1111/j.1948-7169.2005.tb00197.x. 35 Tracy Bhamra, “Planning and Optimization were only few design-specific academic magazines in those days. Design to Facilitate Disassembly in a Recycling Studies published its first edition in 1979, and Design Issues in 1984. There Oriented Manufacturing System,” was not much of a tradition of academic research in the field of design in in Proceedings of the Thirty-Second International Matador Conference, the 70s and 80s. Design processes were in the hearts and minds of many ed. Ashok K. Kochhar et al. (London: early design researchers, and Design Studies was a worthy outlet for their Palgrave, 1997), 85–90, DOI: https://doi. output. Design Issues, on the other hand, only began publishing papers org/10.1007/978-1-349-14620-8_14. 36 Tracy Dowie-Bhamra, “Design for Disas- on responsible design as of the late 80s and early 90s. Some specialized, sembly,” CoDesign 1, no. 5&6 (1996): 28–33. ­­sustainability-­related journals also started to take on research projects 37 Casper Boks and Erik Tempelman, “Future by design academics during the late 80s. Examples of these are Journal Disassembly and Recycling Technology: Results of a Delphi Study,” Futures 30, of Cleaner Production, Sustainable Development, Business Strategy and the no. 5 (1998): 425–42, DOI: https://doi. Environment­ , and Corporate Environmental Strategy. org/10.1016/s0016-3287(98)00046-9. Papanek did inspire an important generation of design academics and 38 Cornelia Ariadne Bakker, “Environmental Information for Industrial Designers” (PhD leaders of design organizations — Yrjo Sotomaa, Ezio Manzini, Chris Ryan, dissertation, Delft University of Tech- Han Brezet, Roger Coleman and Rachel Cooper, for example — who went nology, 1997), http://resolver.tudelft.nl/ on to inspire and educate new generations of designers and design scholars. uuid:35b9dbef-3718-40fc-b64a-178b1cd- 0fed8. Yrjo Sotamaa, who lead the art and design school in Helsinki, enjoyed 39 Emma Dewberry and Phillip Goggin, the privilege of spending time with Papanek. Sotomaa contributed to the “Spaceship Ecodesign,” CoDesign 5, no. 6 creation of Aalto University, one of whose guiding principles is collabora- (1996): 12–17, available at http://oro.open. ac.uk/29317/. tion between academic disciplines. Two of those leading scholars refer to 40 Caroline Gertrudis van Hemel, EcoDesign themselves as activists: Ezio Manzini and Tony Fry;33 both taught at PolyU. Empirically Explored: Design for Environ- The DESIS network founded by Manzini now runs across the globe. Tony ment in Dutch Small and Medium-Sized Enterprises (Amsterdam: MilieuBoek, 1998). Fry inspired many design researchers with his views on critical and radical 41 Chris Sherwin and Tracy Bhamra, “Beyond design. The writings of Manzini and Fry not only influenced design students Engineering: Ecodesign as a Proactive and design scholars, they reached a much wider audience of creative pro- Approach to Product Innovation,” in Proceedings First International Symposium fessionals and policymakers. Rachel Cooper, who has been a driving force in on Environmentally Conscious Design design research in the UK, placed her focus on socially responsible design.34 and Inverse Manufacturing (Piscataway, It was not until the early 1990s that design scholars began publishing NJ: IEEE, 1999), 41–46, DOI: https://doi. org/10.1109/ecodim.1999.747578. larger numbers of academic papers on the variety of topics put forward by 42 Tim C. McAloone and Stephen Evans, Papanek. His influence comes to the fore in relation to environmental and “How Good Is Your Environmental Design social sustainability (including inclusive design). It was from this moment Process? A Self-Assessment Technique,” in Proceedings of the Design Society: that sustainability became a core concept in design. By the way, Papanek did International Conference on Engineering not use the word “sustainability,” nor did any design scholar before 1985. Design (Cambridge: Cambridge Univer- At Politecnico di Milano and TU Delft in the 90s, there were larger sity Press, 1997), 625–30, available at https://orbit.dtu.dk/en/publications/ research groups focusing on sustainability and driving knowledge devel- how-good-is-your-environmental-de- opment through empirical studies. During those early years, Cranfield sign-process-a-self-assessment-t. ­University contributed to empirical findings from the UK. A new genera- 43 C.N. van Nes and A. L. N. Stevels, “Selecting Green Design Strategies tion of PhD students in the second half of the 90s worked on topics such on the Basis of Eco-Efficiency Cal- as disassembly and recycling (Bhamra,35 Dowie,36 Boks37), environmental culations,” in Life Cycle Networks, ed. information for designers (Bakker38), ecodesign (Dewberry,39 Van Hemel,40 F.-L. Krause and G. Seliger (Boston: Springer, 1997), 313–23, DOI: https://doi. Bhamra41), environmental priorities in product design processes, and green org/10.1007/978-1-4615-6381-5_26. design strategies (McAloone,42 Van Nes43). Some of the academic research, both from the UK and the Netherlands, was conducted in collaboration with Philips Royal Electronics. 272 she ji The Journal of Design, Economics, and Innovation Vol. 7, No. 2, Summer 2021

44 Ezio Manzini and John Cullars, Examples of reflective academic papers inspired by Papanek are those “Prometheus of the Everyday: The by Ezio Manzini in Design Issues in 1992 (translated by John Cullars)44 Ecology of the Artificial and the De- signer’s Responsibility,” Design Issues and 1994.45 Manzini picks up on the consumption issues in society that 9, no. 1 (1992): 5–20, DOI: https://doi. had been put forward by Papanek in 1971. In Manzini’s 1992 paper, which org/10.2307/1511595. refers to Papanek’s Design for Human Scale, he poetically writes about social 45 Ezio Manzini, “Design, Environment and Social Quality: From ‘Existenzminimum’ imaginaries and about a garden of objects that endure, perform services, to ‘Quality Maximum,’” Design Issues and require care. This is his version of the sensuous frugality put forward by 10, no. 1 (1994): 37–43, DOI: https://doi. ­Papanek in the preface to the second edition of Design for the Real World.46 org/10.2307/1511653. 46 Victor Papanek, preface to Design for the In a paper from 1994, which surprisingly comes without a single reference, Real World: Human Ecology and Social Manzini makes a plea for environmental issues to shift from calls to action Change, 2nd ed. (London: Thames and from a minority to agenda items for all actors in society. Manzini has su- Hudson, 1985). 47 Nicola Morelli, “Designing Product/ pervised many PhD students who have gone on to take these sustainability Service Systems: A Methodological topics further, such as Nicola Morelli, one of the first design academics Exploration,” Design Issues 18, no. to work on product-service systems.47 Other influential researchers from 3 (2002): 3–17, DOI: https://doi. org/10.1162/074793602320223253. Milano in this line of research are Anna Meroni48 and Carlo Vezzoli.49 48 Anna Meroni and Daniela Sangiorgi, Manzini has instigated and inspired research on sustainability matters Design for Services (Abingdon: Routledge, around the world. Examples of this I have witnessed both in research and 2016). 49 Ezio Manzini and Carlo Vezzoli, “A teaching related to (social) sustainability at PolyU, Jiangnan University, and Strategic Design Approach to Develop Tongji University. Sustainable Product Service Systems: Ex- Roger Coleman of the Royal College of Arts and John Clarkson of Cam- amples Taken from the ‘Environmentally Friendly Innovation’ Italian Prize,” Journal bridge University both put inclusive design on their respective institutions’ of Cleaner Production 11, no. 8 (2003): research agendas. In 2003, P. John Clarkson, Roger Coleman, Simeon 851–57, DOI: https://doi.org/10.1016/ Keates, and Cherie Lebbon published Inclusive Design: Design for the Whole s0959-6526(02)00153-1. 50 John Clarkson et al., eds., Inclusive Design: Population;50 the introduction references Papanek. This line of research Design for the Whole Population (London: undertaken at Cambridge University was expanded by design scholars such Springer Verlag, 2013). as Hua Dong,51 who, after left Cambridge University, worked at Brunel Uni- 51 Hua Dong et al., “Critical User Forums — An Effective User Research Method for versity, Tongji University, and Loughborough University. Jeremy Myerson52 Inclusive Design,” The Design Journal 8, carried the line of inquiry into inclusivity to the Helen Hamlyn Centre at the no. 2 (2005): 49–59, DOI: https://doi. RCA. He also made a plea to designers to scale down their activities, respect org/10.2752/146069205789331628. 52 Jeremy Myerson and Yanki Lee, “Inclusive human needs, and accommodate diversity.53 Design Research Initiatives at the Royal College of Art,” in Universal Design Hand- book, 2nd ed., ed. Wolfgang F. E. Preiser My Personal Academic Perspective and Korydon H. Smith (New York: Mc- Graw-Hill Professional, 2010), 36.3–36.13, This paper has a personal view to it. Korea and Japan, for instance, are blind available at https://disabilitystudies.nl/ spots for me, partly because of language, so I have little insight how design sites/disabilitystudies.nl/files/beeld/on- derwijs/universal_design_handbook_with_ researchers in these countries were inspired by Papanek. Having lived and interesting_chapters_23_30_31_33_etc.pdf. worked in the Netherlands, Hong Kong, and the UK will also have skewed 53 Jeremy Myerson, “Scaling Down: my take on things, but I did get an inside out view on Papanek’s legacy. Why Designers Need to Reverse Their Thinking,” She Ji: The Journal of Design, Han Brezet was a central figure at Delft, leading a group referred to as Economics, and Innovation 2, no. 4 (2016): Design for Sustainability. He published on eco-design from the late 1990s 288–99, DOI: https://doi.org/10.1016/j. with Ab Stevels, J.C. Diehl, and Sasha Sylvester as co-authors, and in the sheji.2017.06.001. 54 Joost G. Vogtländer, Arianne Bijma, and same period published works on eco-efficiency with Joost Vogtlander54 Han C. Brezet, “Communicating the well into the beginning of the 21st Century.55 There was much insight into Eco-Efficiency of Products and Services eco-design at Philips in the period between 1990 and 2005.56 Brezet col- by Means of the Eco-Costs/Value Model,” Journal of Cleaner Production laborated intensively with Chris Ryan from the University of Melbourne on 10, no. 1 (2002): 57–67, DOI: https://doi. eco-tourism. He reflected on eco-design experiences57 with John Ehrenfeld58 org/10.1016/s0959-6526(01)00013-0. from MIT (who worked on industrial ecology and spent time in Delft), and 273 De Bont: Furthering Victor Papanek’s Legacy

55 Han Brezet, “Dynamics in Ecodesign with Philip Vergragt59 who published on sustainable technologies and social Practice,” UNEP Industry and Environment systems. 20, no. 1–2 (1997): 21–24; Han Brezet, Ab Stevels, and Jeroen Rombouts, “LCA Some of the next generation of successful sustainability related re- for Ecodesign: The Dutch Experience,” in searchers from the TU Delft Faculty of Industrial Design Engineering, among Proceedings First International Conference others, are Casper Boks,60 who went on to become a full professor at NTNU on Environmentally Conscious Design and Inverse Manufacturing (Piscataway, NJ: in Trondheim; Renee Wever,61 who went on to become a full professor at IEEE, 1999), 36–40, available at https:// Linkoping University; Conny Bakker,62 who became a full professor at TU dl.acm.org/doi/10.5555/1949522.1949533; Delft; and Peter Joore,63 who works out of NHL Stenden University of Ap- Han Brezet, Jan Carel Diehl, and S. Silvester, “From EcoDesign of Products to plied Sciences. These researchers from Delft wrote influential papers on the Sustainable Systems Design: Delft’s Expe- impacts of design on user behavior, sustainable behavior, business model riences,” in Proceedings Second Internation- strategies, and product-service systems and societal change. al Symposium on Environmentally Con- scious Design and Inverse Manufacturing The Faculty of Industrial Design Engineering at TU Delft has also been (Piscataway, NJ: IEEE, 2001), DOI: https:// known for decades for its research and education in relation to patient care, doi.org/10.1109/ECODIM.2001.992432. referred to as Medesign. At Delft, much effort is put into educating students 56 Ab Stevels, Adventures in Ecodesign of Electronic Products: 1993–2007 (Delft: DIS/ on sustainability. This has resulted in some important journal publications, Ab Stevels, 2007). such as those by Jaco Quist and his colleagues,64 and by Caspar Boks and 57 Chris Ryan, “Learning from a Decade Jan Carel Diehl.65 Prabhu Kandachar66 and Jan Carel Diehl67 worked on (or So) of Eco-Design Experience, Part I,” Journal of Industrial Ecology 7, numerous student projects and research studies in developing countries, no. 2 (2003): 10–12, DOI: https://doi. often supported by UNESCO and the Bill and Melinda Gates Foundation. org/10.1162/108819803322564316. The number of studies in this area has not really grown substantially over 58 John Ehrenfeld and Nicholas Gertler, “Industrial Ecology in Practice: The the years, due to a decrease in poverty levels as compared to the 60s and Evolution of Interdependence at Kalund- 70s, and — as Papanek hoped — the expanding field of design education in borg,” Journal of Industrial Ecology 1, no. 1 quite a few countries such as India. (1997): 67–79, DOI: https://doi.org/10.1162/ jiec.1997.1.1.67; John R. Ehrenfeld, “Industri- The faculty of Technology Policy Management at TU Delft has contrib- al Ecology: A Framework for Product and uted to some of the broader issues raised by Papanek, including how the Process Design,” Journal of Cleaner Produc- transition towards clean energy impacts systems,68 and in the field of ethics tion 5, no. 1–2 (1997): 87–95, DOI: https:// doi.org/10.1016/S0959-6526(97)00015-2. and sustainability.69 – Benny Leong and King Chung Siu worked closely with Ezio Manzini at 59 Halina Szejnwald Brown et al., “Learning PolyU, which had an impact on both research and education.70 At the School for Sustainability Transition Through Bounded Socio-technical Experiments in of Design of Hong Kong PolyU, there have been many projects related to Personal Mobility,” Technology Analysis & ­micro-apartments, public space, and urban farming, and many artistic proj- Strategic Management 15, no. 3 (2003): ects reflecting on social issues. Some of the research in Hong Kong71 is, in a 291–315, DOI: https://doi.org/10.1080/095 37320310001601496. way, similar to Papanek’s anthropological work. Kin Wai Michael Siu,72 who 60 Edgar Rodriguez and Casper Boks, “How got his first degree from Loughborough University, conducted a series of Design of Products Affects User Behavior studies to make public spaces such as parks and airplane toilets more acces- and Vice Versa: The Environmental Implications,” in Proceedings of the 4th In- sible for people with visual challenges. The Helen Hamlyn Centre and PolyU ternational Symposium on Environmentally co-organized the “Include” conference in 2017, and King Chung Siu recently Conscious Design and Inverse Manufactur- developed a bachelor program in social design. Over the years, huge num- ing, ed. Ryoichi Yamamoto et al. (Piscat- away, NJ: IEEE, 2005), 54–61, DOI: https:// bers of projects have been conducted in Hong Kong on aging and assistive doi.org/10.1109/ecodim.2005.1619166. technologies. New topics have come to the fore, some of which had hardly 61 Renee Wever, Jasper van Kuijk, and any visibility in Papanek’s days, such as design for dementia.73 Casper Boks, “User-Centered Design for Sustainable Behavior,” International Loughborough University, where I next served as dean, has a phenom- Journal of Sustainable Engineering 1, enal tradition in research on ergonomics and human factors. Ken Parsons, no. 1 (2008): 9–20, DOI: https://doi. George Havenith, Roger Haslam, Sue Hignett, and Diane Gyi are among its org/10.1080/19397030802166205. 62 Nancy M. P. Bocken et al., “Product Design leading professors. Another area of multi-disciplinary expertise is transport and Business Model Strategies for a safety, with research spearheaded by with Pete Thomas and Andrew Morris. Circular Economy,” Journal of Industrial and In 2003, Tracy Bhamra established the Sustainable Design Research Production Engineering 33, no. 5 (2016): 308–20, DOI: https://doi.org/10.1080/2168 Group in the Loughborough Design School. It undertook research in areas 1015.2016.1172124. 274 she ji The Journal of Design, Economics, and Innovation Vol. 7, No. 2, Summer 2021

63 Peter Joore and Han Brezet, “A Multilevel such as methods and tools for sustainable design,74refillable packaging,75 Design Model: The Mutual Relationship domestic energy retrofitting and lowering of domestic energy consump- between Product-Service System Development and Societal Change tion,76 design for sustainable behavior,77sustainable design education, Processes,” Journal of Cleaner Production including teaching ethics for design78 electronic waste recovery79 and 97 (June 2015): 92–105, DOI: https://doi. ­human-centered design for the circular economy.80 More recently, broader org/10.1016/j.jclepro.2014.06.043. 64 Jaco Quist et al., “Backcasting for Sustain- societal topics were taken on board: cultural codes for designing and posi- ability in Engineering Education: The Case tioning sustainable products,81 and sustainable societies and happiness.82 of Delft University of Technology,” Journal Now, even as some of the old soldiers continue to make waves, there is of Cleaner Production 14, no. 9–11 (2006): 868–76, DOI: https://doi.org/10.1016/j. a new generation of design academics taking Papanek’s ideas even further. jclepro.2005.11.032. In Delft, Conny Bakker focuses on product design in the circular economy,83 65 Casper Boks and Jan Carel Diehl, “Integra- while Paul Hekkert and Nynke Tromp84 (among others) are exploring social tion of Sustainability in Regular Courses: Experiences in Industrial Design Engi- sustainability. At PolyU, one research group is conducting interesting work neering,” Journal of Cleaner Production 14, on participatory design and design activism, consisting of Daniel Elkin, no. 9–11 (2006): 932–39, DOI: https://doi. Gerhard Bruyns, and Peter Hasdell.85 At Loughborough, similar to Delft, org/10.1016/j.jclepro.2005.11.038. 66 Prabhu Kandachar and Minna Halme, eds., both environmental and social sustainability remain focal areas of research, Sustainability Challenges and Solutions as evinced by recent publications incorporating social innovation and well- at the Base of the Pyramid: Business, being.86 There is a new research group for responsible design at Lough- Technology and the Poor (Abingdon: Routledge, 2017), DOI: https://doi. borough, which builds upon earlier studies and expertise on sustainability, org/10.4324/9781351279888-1. while also demonstrating a keen interest in inclusive design. Over the years, 67 Leonardo Gomez Castillo, Jan Carel Diehl, quite a bit of attention has been paid to aging,87 with a more recent focus on and J. C. Brezet, “Design Considerations for Base of the Pyramid (BoP) Projects,” in dealing with dementia. Sue Hignett88 helped to bring about the Dementia Proceedings of the Cumulus Helsinki 2012 House, a facility for multi-disciplinary studies at BRE Innovation Park in Conference (Aalto: Aalto University, 2012), Watford. 1–15, available at http://cumulushelsin- ki2012.aalto.fi/cumulushelsinki2012.org/ Examples of the next generation of established design scholars, beyond wp-content/uploads/2012/05/Design-Con- my direct working environments, whose work can be considered as (indi- siderations-for-Base-of-the-Pyramid.pdf. rectly) inspired by Papanek are Jonathan Chapman’s research into emo- 68 Linda M. Kamp, Ruud EHM Smits, and Cornelis D. Andriesse, “Notions tionally durable design,89 Fuad-Luke’s investigations of design activism,90 on Learning Applied to Wind Turbine Sophie Hallstedt’s research on strategic sustainability,92 Eli Blevis’s work Development in the Netherlands and on sustainability in computer-human interaction,93 and Ramia Maze’s work Denmark,” Energy Policy 32, no. 14 (2004): 1625–37, DOI: https://doi.org/10.1016/ with political and philosophical perspectives.94 Despite their considerable s0301-4215(03)00134-4. achievements, they are but drops in the massive pool of design academics 69 Anke van Gorp, “Ethical Issues in Engi- who have placed social and environmental issues at the core of their re- neering Design Processes: Regulative Frameworks for Safety and Sustain- search. The sheer number of researchers in these areas demonstrates the ability,” Design Studies 28, no. 2 (2007): vitality of this type of design research. Dedicated conferences, such as 117–31, DOI: https://doi.org/10.1016/j. “Product Lifetimes and the Environment (PLATE),” now take place, while destud.2006.11.002; for example, see Jeroen van den Hoven, Pieter E. Vermaas, the more general conferences hosted by ICED, CUMULUS, and DRS have and Ibo van de Poel, eds., Handbook of dedicated tracks on such topics. The quality and quantity of research proj- Ethics, Values, and Technological Design: ects on sustainable design has grown — The Journal of Cleaner Production, Sources, Theory, Values and Application Domains (Dordrecht: Springer Nether- for example, has a 5-year impact factor of 7.051. Many academic design lands, 2015). projects have resulted in products and services that have had a very positive 70 Ezio Manzini and B. D. Leong, “Strategic impact. One project particularly stands out: Hester Le Riche,95 who came up Design and Design for Sustainability: A General Overview and Some Consideration with a superb product-service system (Tovertafel) as part of her PhD re- in The Chinese Context” (paper presented search at Delft, now runs a company called Active Cue that seeks to improve to the Tsinghua 2001 China International the lives of those suffering from dementia and their caretakers. Design Forum, Beijing, June 2001), available at http://ira.lib.polyu.edu.hk/ Papanek worked with exceptional people, travelled the world, and lived handle/10397/48142?mode=full. through exciting times. Clearly, he was not the first person to write about 71 Valérie Portefaix and Laurent Gutierrez, many of the topics he brought to the fore, yet he made a significant contribu- “Ghost Islands,” Ardeth 5 (2019): 118–30, DOI: https://doi.org/10.17454/ardeth05.08. tion with his integrated thinking and extremely articulate voice. He inspired 275 De Bont: Furthering Victor Papanek’s Legacy

72 Kin Wai Michael Siu, “Users’ Creative many designers, policymakers, leaders of design schools, and design ac- Responses and Designers’ Roles,” Design ademics. It would be overly simplistic to claim that Papanek was the sole Issues 19, no. 2 (2003): 64–73, DOI: https:// doi.org/10.1162/074793603765201424. source of inspiration for what would become a global drive for social and 73 Benyamin Schwarz, Habib Chaudhury, environmental sustainability. Over the last 50 years, design researchers have and Ruth Brent Tofle, “Effect of Design been inspired by a range of other academics similar to or different from the Interventions on a Dementia Care Setting,” American Journal of Alzhei- ones who inspired Papanek. Many more recent design academics reframed mer’s Disease & Other Dementias 19, elements of Papanek’s work as they deemed suitable and picked up on other no. 3 (2004): 172–76, DOI: https://doi. sources of inspiration. org/10.1177/153331750401900304. – What is unique about Papanek, however, is the combination of his ex- 74 Vicky Lofthouse, “Ecodesign Tools for De- tensive design knowledge and expertise and a deep sense of engagement signers: Defining the Requirements,” Journal with societal and ecological matters. He built up his knowledge and exper- of Cleaner Production 14, no. 15–16 (2006): 1386–95, DOI: https://doi.org/10.1016/j. tise from his interactions with a unique set of visionary designers from the jclepro.2005.11.013; Tracy Bhamra and USA and Scandinavia. He paid close attention to many art movements. In Vicky Lofthouse, Design for Sustainability: addition to that, he spent time living in developing countries, which gave A Practical Approach, ed. Rachel Cooper (Aldershot: Gower Publishing Ltd., 2007). him much insight into other lifestyles. He was a characteristic child of an 75 Vicky A. Lofthouse, Tracy A. Bhamra, era marked by growing criticism around mass manufacturing and consum- and Rhoda L. Trimingham, “Investigating erism. Papanek was able to make sense of the changing times; he taught Customer Perceptions of Refillable Pack- aging and Assessing Business Drivers and and demonstrated how designers could make a contribution to society by Barriers to Their Use,” Packaging Technology redirecting their focus towards people’s real issues and problems instead of and Science: An International Journal 22, treating artificial or cosmetic ones. His advocacy of multidisciplinary col- no. 6 (2009): 335–48, DOI: https://doi. org/10.1002/pts.857. laboration, democratic design, and systems thinking, and his deep (anthro- 76 Victoria Haines et al., “Probing User Values pological) understanding of the interaction between people and artifacts in the Home Environment within a Technol- are still timely. Papanek made clear that designers should develop a set of ogy Driven Smart Home Project,” Personal and Ubiquitous Computing 11, no. 5 (2007): ethical and societal values to work from. 349–59, DOI: https://doi.org/10.1007/ It took a while before Papanek’s ideas were adopted by designers and s00779-006-0075-6. design scholars, but we are fortunate that those who were inspired by his 77 Debra Lilley, “Design for Sustainable Behavior: Strategies and Perceptions,” ideas became very influential in our discipline. Nowadays, in contrast to Design Studies 30, no. 6 (2009): Papanek’s multifaceted approach, most design scholars narrow their focus 704–20, DOI: https://doi.org/10.1016/j. down to a specific set of real problems, such as design for people with chal- destud.2009.05.001. 78 Debra Lilley and Vicky Lofthouse, “Teaching lenges, packaging design, socially responsible design, and so on. Over the Ethics for Design for Sustainable Behavior: last few decades, the rise of digital has contributed overwhelmingly to a A Pilot Study,” Design and Technology myriad of global connections and to an acceleration in the amount of knowl- Education: An International Journal 15, no. 2 (2010): 55–68, available at https://ojs.lboro. edge accumulating in specialized areas. As a consequence, gaining access to ac.uk/DATE/article/view/1493. experts and relevant information sources is key for designers, even though it 79 Garrath T. Wilson et al., “The Hibernating takes design researchers more time than before to discern relevant research Mobile Phone: Dead Storage as a Barrier to Efficient Electronic Waste Recovery,” questions, get the research done, and describe the findings. In his day, Waste Management 60 (February 2017): Papanek convincingly made use of student projects, rather than laborious 521–33, DOI: https://doi.org/10.1016/j. academic studies, to underpin his thinking and illustrate the feasibility of his wasman.2016.12.023. 80 Vicky Lofthouse and Sarah Prendeville, views. Some of these projects could even be research through design avant “Human-Centred Design of Products and la lettre. His overall contribution to design may be characterized by just how Services for the Circular Economy — A far he extended our understanding of design as a result of his efforts, but Review,” The Design Journal 21, no. 4 (2018): 451–76, DOI: https://doi.org/10.1080/14606 that contribution is far greater thanks to his questioning the state of indus- 925.2018.1468169. trial design, coherent descriptions of real design challenges, and illustrations 81 Laura Santamaria, Carolina Escobar-Tello, of ways to go about dealing with these challenges. I cannot think of a single and Tracy Ross, “Switch the Channel: Using Cultural Codes for Designing and Position- design academic who has contributed as much to our field. In my 15 years ing Sustainable Products and Services for as dean, Papanek has remained the moral and ethical compass for design Mainstream Audiences,” Journal of Cleaner research and education, as well as an incredible source of inspiration. While Production 123 (June 2016): 16–27, DOI: https://doi.org/10.1016/j.jclepro.2015.09.130. many design researchers and design academics specialize on subdomains of 276 she ji The Journal of Design, Economics, and Innovation Vol. 7, No. 2, Summer 2021

82 Carolina Escobar-Tello, “A Design Frame- design knowledge, we need to see the bigger picture and reflect on the real work to Build Sustainable Societies: Using problems societies are facing. Interestingly enough, in spite of incredible Happiness as Leverage,” The Design Journal 19, no. 1 (2016): 93–115, DOI: https://doi.org technological advances and the solid ground design has found as an aca- /10.1080/14606925.2016.1109206. demic discipline, many of the real problems pointed out by Papanek are still 83 Bocken et al., “Product Design and real problems today. Business Model Strategies.” 84 Nynke Tromp, Paul Hekkert, and I am currently making changes to the design curriculum for the School ­Peter-­Paul Verbeek, “Design for Socially of Design and Creative Arts at Loughborough University in line with the Responsible Behavior: A Classification of suggestions provided by Papanek. In the new Bachelor of Arts in Design, Influence Based on Intended User Experi- ence,” Design Issues 27, no. 3 (2011): 3–19, formerly referred to as the BA in Industrial Product Design and ­Technology, DOI: https://doi.org/10.1162/desi_a_00087; students will receive a broad introduction to design in year 1 before Nynke Tromp and Paul Hekkert, Designing choosing a specialization in product design, experience design, or environ- for Society: Products and Services for a Better World (London: Bloomsbury ment design from year 2 onwards — in the old program, product design was Academic, 2018). the only option. Papanek was against the demarcation of design disciplines. 85 Daniel Elkin, Gerhard Bruyns, and Peter Having a broad design program covering all years of study, however, clearly Hasdell, “Appropriate Construction Tech- nologies for Design Activism: Material Re- is a bridge too far at Loughborough. Since the School of Design at Loughbor- search Practices in Response to Globaliza- ough merged with Loughborough’s Creative Arts provision96 in 2019, there tion,” arq: Architectural Research Quarterly is more potential for multidisciplinary collaboration — something Papanek 22, no. 4 (2018): 290–309, DOI: https://doi. org/10.1017/s1359135518000507. was very keen on — between students and researchers from the Creative 86 Ann Petermans and Rebecca Cain, eds., Arts and Design schools. Collaboration of this nature will be instrumental to Design for Wellbeing: An Applied Approach design students’ becoming more sensitive to societal issues. (Abingdon: Routledge, 2019); Francesco Mazzarella, Val Mitchell, and Carolina Some colleagues find Papanek’s ideas still too radical today, which Escobar-Tello, “Crafting Sustainable means that leadership is required to move forward and make more neces- Futures. The Value of the Service Designer sary changes. More concrete impact is likely to come from well-educated in Activating Meaningful Social Innovation from within Textile Artisan Communities,” design graduates who enter the job market as responsible designers — they The Design Journal 20, no. sup1 (2017): are truly needed in a world confronted with drastic climate change and S2935–50, DOI: https://doi.org/10.1080/14 such a wide array of severe social issues in nearly every region. Despite that 606925.2017.1352803. 87 David R. Hitchcock et al., “Third Age potential, some design academics97 have concluded that there is currently Usability and Safety — An Ergonomics little evidence of widespread engagement on such topics across the design Contribution to Design,” International industry. The roster of challenges associated with addressing social and Journal of Human-Computer Studies 55, no. 4 (2001): 635–43, DOI: https://doi. environmental sustainability matters that designers face requires review org/10.1006/ijhc.2001.0484. and revision. Otherwise Papanek’s efforts, and also those of deans across the 88 Charlotte Jais et al., “How Can Human world, will be in vain. Factors Be Used in the Design of Dementia Care Environments?” (poster presented at European Healthcare Design Conference, Royal College of Physicians, London, June Acknowledgments 2015), available at https://repository.lboro. ac.uk/account/articles/9338699. I extend my heartfelt gratitude to Jeremy Myerson, Tracy Bhamra, and Ab 89 Jonathan Chapman, Emotionally Durable Stevels for their suggestion to earlier versions of this paper. Design: Objects, Experiences and Empathy, 2nd ed. (Abingdon: Routledge, 2015). 90 Alastair Fuad-Luke, Design Activism: Declaration of Interests Beautiful Strangeness for a Sustainable 91 World (London: Routledge, 2013). To avoid exhibiting an overly favorable bias towards my former and present 92 Sophie I. Hallstedt, Anthony W. Thomp- son, and Pia Lindahl, “Key Elements for employer institutions (Delft University of Technology, Hong Kong Poly- Implementing a Strategic Sustainability technic University, and Loughborough University), I have attempted to be as Perspective in the Product Innovation factual as possible, and also to credit academic researchers from other insti- Process,” Journal of Cleaner Production 51 (July 2013): 277–88, DOI: https://doi. tutions who have significantly contributed to furthering Papanek’s legacy. org/10.1016/j.jclepro.2013.01.043. 93 Eli Blevis, “Sustainable Interaction Design: Invention & Disposal, Renewal & Reuse,” 277 De Bont: Furthering Victor Papanek’s Legacy

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