“Design and Social Science: Making Connections” is a compelling examination of design and social sciences. In this book, editor Jorge Frascara, who has dedicated years to exploring the intersection of these fields, brought together scholars from a variety of disciplines into a cohesive dialogue. Regardless of its rich content, this gathering of ideas focused on one horizon is fascinating in itself and serves as a great example of an interdisciplinary and multidisciplinary approach in a world where the boundaries of academic disciplines are increasingly merging and fading.
The book consists of 21 chapters, each presenting relatively short yet engaging ideas. This format is not only convenient for scholars and graduate students but also highly accessible to undergraduate students. Even those with shorter attention spans, shaped by the instant gratification of online feeds, will find it extremely easy to follow. Therefore, junior students in the early stages of their studies in social science, design, architecture, or urban studies, by absorbing this accumulation of ideas, will not only learn to think outside the box but will also come to realize that there is no such box and design is inherently social.
Any attempt to summarize the content of the chapters in such a brief format might be unfair to the variety and depth of the ideas presented; nevertheless, two overall comments come to mind after reading through this book.
Firstly, despite this collection comprising the ideas of more than twenty writers and thinkers with varying perspectives and academic backgrounds, there is a sense of connection throughout. This connection goes beyond the shared focus on design and social science. What binds this book together as a cohesive and integrated work is a common, unified core belief underlying each chapter. A notion emerges between the lines that even opposing ideas or disagreeing writers may share: design transcends mere design! It is more than what is traditionally taught in classical design or architectural schools, where the designer is seen as the master of everything.
Secondly, despite the distinctiveness of each chapter’s ideas and the unique perspectives each may offer, what makes this book engaging for the public reader, student, or professional is the variety of stances the writers take regarding the core belief mentioned earlier. Some contributors clearly believe that design cannot exist without social science, arguing that without it, design is void and null. Others take a more moderate stance, acknowledging that while we may design independently, it will not be sufficient for the tangible needs of society, therefore it is significantly enriched by incorporating social studies.
This variety of perspectives in such a collection of ideas may seem normal and inevitable, but the decision to include such a range of viewpoints becomes a strong point that attracts readers from diverse backgrounds. Each reader can find their own tone, follow those writers who align more closely with their views and still engage with the overarching theme. Had the book only included those with an identical commitment to the idea that design and social science are inseparable, it would likely have resulted in a less inclusive readership and diminished impact. By embracing this spectrum of beliefs, the book fosters a more dynamic and comprehensive discussion, enhancing its appeal and relevance across a broader audience.
Darrush Farrokh (Univ. of Alberta)
