It's largely an ivory tower ego playground for the financially elite, but with a creative side. It's a lot of relentless self-marketing with a generous helping of whatever buzzwords are in at the moment.
The designers are easy to spot. They wear boldly coloured look-at-me glasses and clothing. It's like a menagerie of rare birds. Find them at international Expos, Bienalles and design festivals (if in doubt, seek out a pavilion).
Their ideas are largely stale and reused. These people are born rich and die rich and affect very little positive change in the time between.
But - remove the glamour and apply design thinking to hard, thankless but important problems and it can be a pretty meaningful and worthwhile profession IMO.
This take of designers being superior being to engineers is something I consistently observed among designers over the decade.
Here is a light-hearted video: https://www.youtube.com/watch?v=uvU5dmu4sl8
It's a bit like saying 'language is so damaging, every argument I ever had was a result of language'.
So things like the cotton gin or Ford's use of interchangeable parts don't count as design or somehow didn't change the world?
How is volunteering at soup kitchens more effective at changing the world than interchangeable parts?
And still yet...are you wanting to change the world for the better?
Personally, I like data-driven design. As in: ask a designer why, and you know why this is good or bad design. The 'why' should be linked to real data and decisions based on them.
TFA: > The solution, though, isn’t to stop trying to change the world. What could a more beautiful, user-friendly, accessible, and egalitarian society look like?
That absolutely is not a job for a designer. Anything about how society works is politics. If a a designer suggests things in this area, they are not designers, they are politicians. TFA notes that en passant as well: Lyons and Ideo didn't have a design problem, but a political problems.
A slight nitpick to the section of Bauhaus - the goal was not industrialization, and in fact in the early days that "group" was completely against industrialization. Gropius was the first director of Bauhaus, but the school existed previously in other forms led by Henry van de Velde, who only left Germany because of WWI and the fact he was Belgian. And in fact, there was a clash in the group already in 1914 at one of their first exhibitions, where one fraction strongly advocated for industrialization and "typed" production. But van de Velde won, and Gropius sided with him. If you visit van de Velde's house, it's clear what he was thinking. The house was designed with his family and his work in mind. In a way that his many children and family could live there and he would have his space and peace and quiet to work. So the idea was to have living conditions adapted to the needs of the people, but it's clear that without industrial scale it would only be available to the rich. But still, "form follows function" is not necessarily industrial. Van de Velde's house is classical in appearance, but still the starting point was function not form.