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Consequently, the knowledge economy […] will quickly become a thing of the past, if holding a mouse proves cheaper in Beijing than in the west of Holland. The true investment is the investment in design itself, as a discipline that conducts research and generates knowledge – knowledge that makes it possible to seriously participate in discussions that are not about design. Let this be knowledge that no one has asked for, in which the designer is without the handhold of an assignment, a framework of conditions, his deference, without anyone to pat him on the shoulder or upbraid him. Let the designer take on the debate with the institutions, the brand names or the political parties, without it all being about getting the job or having the job fail. Let designers do some serious reading and writing of their own. Let designers offer the surplus value, the uselessness and the authorship of their profession to the world, to politics, to society.

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The opposite attitude, which we may call one of counter-design, chooses instead to emphasize the need for a renewal of philosophical discourse and for social and political involvement as a way of bringing about structural changes in our society.

Lang, Peter, 'Superstudio’s Last Stand, 1972-1978', in Valentijn Byvanck, (ed.), Superstudio: The Middelburg Lectures, Zeeuws Museum, 2005, p. 46.

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Many designers still use the term ‘problem-solving’ as a non-defined description of their task. But what is in fact the problem? Is it scientific? Is it social? Is it aesthetic? Is the problem the list of prerequisites? Or is the problem the fact that there is no problem? p1.

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TROIKA: What questions does it raise?

D&R: It's not just about asking questions. It's main purpose is to make us think. But also to raise awareness, expose assumptions, provoke action, spark debate, and even entertain in an intellectual sort of way, like literature or film.

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TROIKA: What is Critical Design?

D&R: Critical Design uses speculative design proposals to challenge narrow assumptions, preconceptions and givens about the role products play in everyday life. It is more of an attitude than anything else, a position rather than a method. There are many people doing this who have never heard of the term critical design and who have their own way of describing what they do. Naming it Critical Design is simply a useful way of making this activity more visible and subject to discussion and debate. Its opposite is affirmative design: design that reinforces the status quo.

Design as critique has existed before under several guises. Italian Radical Design of the 1970s for instance, was highly critical of prevailing social values and design ideologies, critical design builds on this attitude and extends it into today?s world. Some relatives are:

Activism
Cautionary Tales
Conceptual Design
Contestable Futures
Design Fictions
Interrogative Design
Radical Design
Satire
Social Fiction
Speculative Design
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TROIKA:  Is critical design only an academic exercise or do you think its outcomes could/should enter the mass-market? Is this important at all?

D&R: Although fundamentally academic, there's no reason its outcomes cannot be mass produced, it is not anti-industry nor anti-mass production, it's a strategy that places emphasis on combining content and aesthetics, it can be issue-based, awareness raising, or thought provoking. These can be a product's sole function or they can be combined with other levels of use, purpose and meaning.

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