Design for Social Responsibility has always been the most relevant manifestation of the profession in its implicit acknowledgement that all design has consequences relative to social, cultural, economic and environmental conditions. These responsible principles are not new to design practice, nor are they socially nostalgic, but core to the virtues of design for society's welfare. These ethics have been consistently advocated throughout the history, development and evolution of the design profession in the 20th century. This humble and conscientious advocacy has been espoused by some of the most notable and prolific pioneers of the profession, to the least recognized. Yet the significance and inherent role of design for social responsibility lacks the glamour or intrigue of design "enfant terribles" self-indulgence in award-winning products many, which had yet to prove themselves in, market sales, or performance.

Inferences to the significance of social responsibility to design have been typically deferred to wallow as either novel thoughts, or as "exercises" in prototypical design rhetoric of good intention. The questions about social well being and society that these projects confront are usually left to ponder and wander aimlessly in the conscience of the designer.

As industrial design educators we must not only advocate the understanding of the operative concepts of design, but also personalize them to being accepted or rejected. In so far as there is mutual accord between the two, integrity will apply itself to every phase of the creative endeavor. Industrial design education must involve elements integrative of personality on which social responsibility will take root.

The designer is in a pivotal position to interpret and influence the manner in which modern living is facilitated. They provide the essential links that constitute the synthesis in the product development cycle. It is the designer, whose holistic understanding of creativity provides the greatest sensitivity to, and the strongest dynamic connections with society. The designer has the greatest responsibility to the representation, communication and harmony of the culture through the identity of its everyday objects and environment.

SOCIAL ACTION AND RESPONSIBILITY

Design has consequences and therefore design is a form of political and social action.

We must teach our students and ourselves the economic, social and political consequences of what we make and design. We must prepare our students and ourselves to understand the limits of design and production while at the same time teaching them to understand the potential of what they can do outside of the traditional practice of design.

To that end, we must change the nature of the education we provide design students and our roles within that education.

We must admit a more diverse student population in order to enrich the perspectives of the students within our communities.

We must begin the social education of our students as early as possible in their design course of study.

We must make the liberal arts education an essential element of their design education by providing them a thorough understanding of their role as political, social and economic actors.

If we succeed in this agenda, we believe that our students will become authentic voices and not merely filters of the society, which surrounds them.