We do so by emphasizing criticality, empathy, and advocacy as the most important characteristics designers can develop.
Criticism is the bedrock of design education. Criticism thoughtfully and rigorously challenges the normalized. Education is about making critical questioning instinctive, because criticism is not only fundamental to design, it is the foundation of citizenship. The designer who critically filters the mountain of data associated with a million-square-foot upfit could expertly navigate the information and misdirection that floods contemporary society.
Empathy requires us to solicit, understand, and consider other viewpoints in the design process. “Listening,” according to improvisational artists, “is the willingness to change.” The empathic designer puts a premium on seeking out and respecting another’s viewpoint in service of design. The empathic citizen could overcome the increasingly binary nature of public discourse today.
The critical, empathic designer is also an advocate. Like many schools, ours has an innovative interdisciplinary program—the Middle of Broad studio—that pairs our students with communities in need of design assistance, but advocacy opportunities are present at many scales. When accessibility is posited as civil rights advocacy, it is no longer a space planning conundrum. Plumbing code requirements are opportunities to advocate for our trans community. If we can educate designers who understand that they can empower people, that ethos could translate into many other areas.
We need students to join us in transforming interior design. Together, we can combat sexism and homophobia. Together, we can reach out to underrepresented populations and engage them with design, and then provide those designers with mentoring and support. Together, we can advocate for people whose voices, overtly or inadvertently, are silenced in design conversations. Perhaps most of all, together we must reflect on our own profession and ask difficult questions about diversity and inclusion. The recent work by the IIDA Diversity Council is a start, but a comprehensive study across the profession is grossly overdue. Consider this a call to action, and I pledge my participation.
When speaking of good design, Harry Bertoia wrote, “[T]he assumption is that somewhere, hidden, is a better way of doing things.” Equipping our students with a critic’s eyes, an empathic ear, and an advocate’s voice is the first step.
Roberto Ventura is an assistant professor in the Department of Interior Design at Virginia Commonwealth University and maintains a solo practice, roberto ventura design studio. Exploring the intersections of multiple disciplines in terms of form, type, process, and communication, his academic and creative scholarship ranges from the curation and design of exhibitions to the introduction of improv performance to design students. Ventura earned his M.Arch from Miami University and a bachelor’s degree in Math-Physics from Albion College.