# The designer as mediator in higher education:
Expanding roles in social design and project facilitation

Émeline Roy, Aidan Rowe

► To cite this version:

Émeline Roy, Aidan Rowe. The designer as mediator in higher education: Expanding roles in social design and project facilitation. Art, Design and Communication in Higher Education, 2025, 10.1386/adch_00116_1. hal-05213971

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The designer as mediator in higher education:
Expanding roles in social design and project facilitation

Emeline Roy¹ and Aidan Rowe²

1. Aix-Marseille University, UR 4671 ADEF

2. University of Alberta

Corresponding author:
Émeline ROY
UR 4671 ADEF
Aix-Marseille Université,
52 Av. Escadrille Normandie Niémen,
13013, Marseille,
France
Email: emeline.roy@univ-amu.fr
**Abstract**

This article examines the perceptions of master's students in design and social innovation regarding the mediation practices taught in their programme, building on the framework established by Marie-Julie Catoir-Brisson and Marine Royer. It explores the interactions established with users and stakeholders and the skills utilized during co-design activities. By analysing the designer's roles as facilitator, coordinator and translator of user experiences, this study underscores the importance of mediation in developing solutions that address complex social and environmental challenges. The findings contribute to understanding how mediation practices can better support designers in effectively undertaking these roles within multifaceted sociocultural and environmental contexts.

**Keywords**

participatory design; mediation practices; co-creation processes; environmental risk communication; community engagement; pedagogical methods in design; interdisciplinary collaboration; design research education
**Introduction**

Social innovation design education offers students the opportunity to address complex social problems. These practices, rooted in real-world projects, involve interactions with various actors, including stakeholders and users, to co-create collaborative solutions for a more desirable future (Le Bœuf 2015; Manzini 2015; Tromp and Hekkert 2019). In this context, mediation practices form the foundation of social innovation through design (Catoir-Brisson and Royer 2017; Reunkrilerk 2022), where designers play a role as intermediaries between the project participants. Our study focuses on the master's programme in design, innovation and society (DIS) at the University of Nîmes (France), where students engage in social design projects involving external partners. The project discussed here, Designs, Risks and Territories, examines how social design skills can be applied in the co-creation process for environmental risk management. Within this framework, students faced real-world challenges, collaborating with the project sponsor and, importantly, with the residents of the affected municipalities to develop appropriate and inclusive proposals.

The central question of this study is, to what extent do the mediation practices
taught within the framework of social innovation design enable designers to fully
assume their roles as facilitators, coordinators and translators of user experiences
within complex sociocultural and environmental contexts? This question raises
essential issues about the ability of designers to apply theoretical skills to real-
world situations, where social, cultural and environmental dynamics add a
significant level of complexity. This article aims to contribute to the enrichment
of reflections on interactions and mediation practices in social innovation design
education. By highlighting the various roles of the designer in co-creation and
collaboration with stakeholders, this study contributes to a deeper understanding
of social design education and its potential to foster a sustainable, desirable and
socially responsible future. In the first part, we examine the role of mediation
practices in social design and highlight the key competencies in co-creation and
collaboration. In the second part, we discuss the context of social design
education, as well as the methodology, based on semi-structured interviews and
the analysis of interactions between students, stakeholders and users. The results
are presented in the third part.

Social design or the integration of sociocultural, environmental and ethical issues in a user-centred design dynamic

Following the Industrial Revolution, the dominant paradigm in design was market-driven, with a focus on technological advancement and commercial values. In the 1970s, particularly through the work of Victor Papanek (1973), the need for a broader social grounding in design was considered further. Papanek, through his influential book *Design for the Real World* (1971), critiqued the market-driven approach to design and emphasized the importance of designing for the common good. He argued that designers should focus on addressing social, environmental and humanitarian issues, rather than solely creating consumer products. His work laid the foundation for the development of social design, encouraging designers to consider the broader impact of their work on society. The concept of social design was further solidified in England in the 1980s (Armstrong et al. 2014) in the context of energy and environmental crises, based on the argument that society faces a serious dilemma in balancing economic development and ecological sustainability. From that point on, social design, both as research and practice, found more concrete meaning, and social design programmes appeared, helping to address the needs of a wide range of
communities. Although today design is still often ‘understood by the public as
an artistic practice that produces dazzling lamps, furniture, and automobiles’
(Margolin and Margolin 2002: 28), a variety of social initiatives have been
developed. Designers have joined architects, psychologists, social workers,
occupational therapists and others who work collaboratively to better meet the
needs of people, communities, neighbourhoods, housing and spaces. Although
the subject is still in discussion within the broader scientific community, social
design is generally classified as a branch of sustainable design (Horani 2023). It
uses a collaborative, user-centred process to understand and address social
problems, identify opportunities, generate ideas and create tools that support
positive change (Amatullo et al. 2022; Margolin and Margolin 2002).

At the heart of social design is a focus on social innovation and ecological
transition, and mediation practices play a crucial role in this. A recent study by
Roy et al. (2023) examines the importance of interactions with different actors
involved in social design projects, such as stakeholders and users. It also
highlights the role of the designer as a mediator in this process. The mediator, as
a central actor in social design, acts within or ‘on’ the environment, assuming
the role of arbitrator and decision-maker (Reunkrilerk 2022: 58). The terms
‘bridge-builder’ (Berger 2014: 40) or ‘facilitator’ (Picard 2002: 254) are also
commonly used. These mediation practices are characteristic of social
innovation design (Catoir-Brisson and Royer 2017: 77) and are often carried out
by the designer. The goal of these mediation actions is to create collaborative
conditions conducive to positive social change.

Marie-Julie Catoir-Brisson and Marine Royer (2017) identify five distinct roles
the designer assumes as a mediator in a project context (see Figure 1). First, the
designer acts as a *communicator*, facilitating exchanges and the transmission of
information between project stakeholders. Secondly, they assume the role of
*coordinator*, organizing and harmonizing the efforts of various actors to achieve
the project's objectives. The third role the designer takes on is that of a *skills connector* (Deni 2014: 138), linking different expertise and competencies, thus
promoting a multidisciplinary approach. Fourth, as a *facilitator of expression*,
the designer encourages participants to express themselves freely, creating an
environment conducive to contributions. Finally, the designer also acts as a
*translator of user experiences*. This role not only involves managing dialogue
between professionals from various disciplines but also translating users'
experiences, perspectives, values and feedback into concrete usage scenarios.

<figure><img src="image_2.png" /><figcaption>Figure 1: Five key roles of the social designer as mediator, adapted from Catoir-Brisson and Royer (2017). Diagram by the authors.</figcaption></figure>

These interactions refine the understanding of on-the-ground realities, the
specific needs of the populations concerned and local constraints (Cheng and
Chou 2019). The collaborative approach thus supports the emergence of
solutions adapted to community-based territorial constraints. Stakeholders (e.g.
municipalities, associations, communities and co-owners) are similarly involved
throughout the project. Their contributions are a key component driving the
improvement of prototypes and the refinement of proposed responses. This
iterative approach among different actors helps develop solutions integrated into
the realities of the territory, ensuring better acceptance and adoption of future projects (Catoir-Brisson and Watkin 2021; Giney 2019).

In addition, the works of Tony Fry (2008) on futuring in design and those of Murray Bookchin (1982) on social ecology offer enriching perspectives on mediation in social design. Bookchin emphasizes the strict necessity of grounding environmental issues in their social and political context. This highlights a mediation process that goes beyond immediate problem-solving and actively engages in transforming social and political structures to promote a more sustainable, socially just and equitable future. Thus, the social designer's mediation activity becomes an act of helping to create a future where ecology and social justice are intrinsically linked. To further this reflection, designers need to act not only as creators of solutions but also as mediators between the present and the future, anticipating ecological and social challenges. As Fry argues, 'the action of futuring, which redirective practice exists to serve, only becomes a global possibility if it is based on establishing conditions of “commonality in difference”' (2008: 91). This insight aligns with the role of designers in fostering environments where sustainability is approached through sociocultural plurality, thus highlighting the mediation of both present and future challenges. In this context, Ezio Manzini (2015) views the social designer as a facilitator of collaborative communities, where mediation plays a role in co-creating sustainable solutions. Designers serve as bridges between different knowledge and cultures, essential for addressing the world of tomorrow. While Papanek (1973) states that a central importance in design is the relationship with people, his work emphasizes that mediation through design must also include a deep understanding of the cultural and social contexts in which social design projects are implemented. Donald Norman (1988) argues that the true essence of
design lies not just in the creation of physical artefacts but in addressing human problems and creating meaningful user experiences. In this sense, design becomes a tool for understanding and addressing the needs, behaviours and complexities of people. It is through human-centred design (HCD), which foregrounds empathy, usability and context, that designers can explore and reveal problems that users face in their daily lives. This approach is inherently holistic, as it encompasses not only the technical and functional aspects of design but also the broader social, cultural and contextual factors that influence user experience. By focusing on the interactions between people and designed responses, design can help bridge gaps in understanding and improve the quality of life. HCD involves a continuous process of iteration and feedback, where designers observe, experiment and refine their solutions based on real-world user needs and challenges, ensuring that design responses are both relevant and effective in diverse contexts.

## Context

This study focuses on the designer's role as a mediator within social innovation design education, based on the framework established by Catoir-Brisson and Royer (2017). We examine dialogical interactions between students and stakeholders, along with mediation practices that support a more socially responsible future. Conducted within a project assigned to four groups of three to four students, the study involved direct exchanges with a project sponsor, aiming to improve community-based environmental assessment within a flood prevention programme for community groups around Nîmes, France. In addition to the applied project, students completed a series of courses related to social design, user-centred research, ethics and communication. These courses
provided complementary theoretical and methodological frameworks that supported their practice during the project documented here. This pedagogical integration helped reinforce the development of mediation competencies explored in this study. Guided by two instructors and the project sponsor – a geographer from the Public Territorial Basin Establishment – the students followed a structured design process, progressing through phases of contextual analysis, field immersion, ideation, prototyping and testing. The goal was to raise awareness of social design's impact on risk management and territorial planning.

Methodology

Data included semi-structured group interviews with the students and records of student activities (e.g. logbooks, research notes and presentations). Interviews, following a pre-established guide, lasted between one hour and one hour 40 minutes and the results were recorded, transcribed and then translated (from the French). Interviews were then analysed through a thematic coding approach aligned with the five-mode model (Catoir-Brisson and Royer 2017), while remaining attentive to the emergence of categories that might not fit. No major divergences from the five roles were identified, which may also reflect a confirmation bias, a limitation we acknowledge.

We then analysed mediation competencies by examining five roles central to social innovation design: communicator, coordinator, skills connector, facilitator of expression and translator of user experiences. Figure 2 shows the five roles and associated competencies we have identified to illustrate the diverse expertise expected of social designers.
<figure><img src="image_3.png" /><figcaption>Figure 2: Key roles and competencies of the social designer in social innovation design, adapted from CatoirBrisson and Royer (2017). Diagram by the authors.</figcaption></figure>

As communicators, designers use empathy and communication to understand and convey user perspectives. Skills in active listening and clear information-sharing are reflected in terms such as ‘understanding’, ‘emotions’ and ‘dialogue’. Empathy’s foundational role in social design is underscored by Devecchi and Guerrini (2017) and Margolin and Margolin (2002).

The coordinator role entails organizing and aligning efforts among stakeholders to achieve shared goals, requiring planning, synchronization and ethical responsibility. Ethical foresight, as discussed by Fry (2008) and Lara Horani (2023), balances project objectives with environmental and social responsibility. Allison Marchildon (2017) and Delphine Giney (2019) highlight coordination’s role in developing solutions suited to real-world contexts, with adaptability and resilience key to managing unpredictable situations (Walker and Salt 2012).

As skills connectors, designers integrate diverse expertise using multidisciplinarity and systems thinking. Terms like *interdisciplinary* and *inclusive* highlight this role, with Michela Deni (2014) and Mimi Nguyen and
Céline Mougenot (2022) discussing the importance of shared cognition. Peter M. Senge and John D. Sterman (1992) emphasize systems thinking in understanding complex social and environmental interactions.

Facilitators of expression create environments for stakeholders to freely share ideas, requiring skills in mediation and adaptability. Terms like *participation* and *engagement* illustrate this, with Estelle Berger (2014) and Dorian Reunkrilerk (2022) emphasizing the designer's facilitative role.

Finally, the translator of user experiences role requires interpreting user feedback into actionable scenarios. Key terms include *translate, interpret and context*, with Hui H. Cheng and Wen H. Chou (2019) describing this role as translating feedback into practical designs, while Papanek (1973) and Bookchin (1982) highlight grounding designs in sociocultural contexts.

By structuring our methodology around these roles and analysing the interviews through associated keywords, we identify essential mediation skills that enable designers to better address complex social and environmental challenges more effectively.

This project took place during the first semester of the two-year master's programme in design, innovation and society (DIS) at the University of Nîmes (France). Coordinated with the regional public agency EPTB Vistre-Vistrenque, it addressed a real-world brief: how to communicate and disseminate a flood risk prevention plan to local communities. The pedagogical approach combined in-class learning with field immersion, aiming to develop students' capacity for contextual design research. Each group worked through analysis, stakeholder engagement, ideation, prototyping and user testing. The project culminated in a group report and an individual reflective research notebook.
The final student group-produced artefacts developed in response to the flood risk communication brief include:

* *KIT Inf'eau:* an educational preparedness kit informing citizens on what to do before, during and after a flood (Group 1);

* a visual installation displayed in a public exhibition to communicate the historical and emotional dimensions of local flood events (Group 2);

* a participatory mapping toolkit used to facilitate dialogue between students and local stakeholders (Group 3); and

* a modular card game designed to foster public discussion on risk perception and environmental planning (Group 4).

# Results

## The role of the social designer as a communicator

Interviews revealed that all four student groups relied on empathy and communication to better understand user perspectives and facilitate information flow between stakeholders.

*Empathy* helped students adjust their projects to better meet user needs. Of the twelve students interviewed, ten faced challenges related to empathy, often due to the demands of interpreting and integrating diverse user experiences and expectations. Many students highlighted 'putting themselves in others' shoes' as essential to understanding different perspectives. While empathy supported project alignment with user expectations, it also presented emotional demands, as managing users' emotions and balancing varying expectations was complex. Sonia (Group 3) remarked, 'people needed to express themselves, they needed
to be heard, they needed time to share', highlighting the effort to provide support
while maintaining progress.

*Communication* was necessary for structuring exchanges, clarifying ideas and aligning project goals among stakeholders. Many students – eight out of twelve – found simplifying technical information and coordinating messages challenging. Camélia (Group 1) emphasized internal communication within the team, while Laurène (Group 2) shared, '[w]e tried to rephrase the request so that we could rely on it and understand it'. Katia (Group 3) described redirecting an interview participant who would 'go off on tangents', revealing the effort to keep conversations focused.

Additionally, building confidence in approaching unfamiliar individuals was a valuable learning experience, with nine of the twelve students mentioning this aspect as a significant challenge. Amel (Group 4) reflected, '[t]here were a lot of improvements [in] gaining confidence [...] in an interview', highlighting growth in direct user engagement.

## The role of coordinator in social design

Interviews emphasized the importance of coordination and collaboration skills, essential for structuring teamwork, aligning project objectives and managing diverse stakeholder expectations. Coordination also entails an ethical commitment, balancing practical goals with social and environmental responsibilities.

*Coordination* was seen as important for organizing and harmonizing efforts among project participants. Nine of the twelve students interviewed highlighted its importance, while nearly half faced challenges in managing feedback and aligning contributions from different actors. Yann (Group 1) shared his experience, saying, '[f]or me, it was more about reaching out to residents,
actually testing the paper questionnaire in face-to-face interactions [...] sending emails to organize workshops', illustrating the complexity of coordinating activities. Other students, like Lilly (Group 4), emphasized the mental load of managing multiple responsibilities with external organizations, noting, '[i]t takes a lot of time, but you don't realize it'.

*Collaboration* or working jointly with various actors to develop grounded solutions, was valued. Students recognized the importance of integrating different perspectives, though coordination across disciplines posed challenges. Mathi (Group 3) remarked, '[w]e learned to work with experts to develop the project', while Amel (Group 4) shared, '[w]e had to coordinate the expertise to integrate all aspects', illustrating the balancing act of managing contributions from diverse fields. Fry (2008) and Horani (2023) stress the foresight and futuring needed in social design to address social and ecological issues responsibly.

*Anticipation* or the ability to foresee future challenges, was viewed as valuable but difficult, with eight of twelve students mentioning challenges due to limited practical experience. Camélia explained, '[t]he instruction was [...] by this date, you give us some leads and research, and by this date, you give us the final project'. However, Rania (Group 2) noted the unpredictability inherent in social design, saying, '[i]t's the first time I'm in a project where everything is unpredictable'.

*Ethics* or involving balancing economic development with ecological responsibility, was recognized indirectly, with six students highlighting specific ethical challenges. Sonia (Group 3) reflected on considering both immediate user needs with long-term sustainability, while Katia (Group 3) shared concerns about maintaining integrity in communications: 'We didn't want to do a promotion that
could almost seem hypocritical'. This careful approach illustrates the effort to preserve ethical values without appearing opportunistic.

*Adaptability* or the ability to adjust based on user feedback and project developments, was essential. All students highlighted its importance, with eight noting specific challenges in managing last-minute changes. Camélia shared, '[w]e had to truly project ourselves', underlining the need for flexibility. Katia (Group 3) added, '[b]eing able to adapt [...] [b]ecause events are always changing', showing the difficulty of maintaining continuity while being responsive.

*Resilience* or the ability to persist despite obstacles, was important for students. Ten out of twelve noted its importance, though seven noted challenges like managing stress and staying motivated. Sonia (Group 3) highlighted resilience in dealing with unresponsive stakeholders, while Clémentine (Group 4) stated, '[w]e had to manage without some important support', showing the persistence required when external assistance was limited.

**The role of the social designer as a skills connector**

The students recognized the importance of the designer's role as a skills connector, emphasizing the integration of diverse expertise and the adoption of a holistic approach to addressing social and environmental problems. This role involves navigating between different disciplines to build innovative solutions that are well-suited to the needs of users.

*Multidisciplinarity*, the ability to connect different areas of expertise to support a holistic approach, was discussed by students as essential in developing comprehensive solutions. Yann from Group 1 highlighted the benefit of collaborating across fields to bridge skill gaps, stating, '[i]t was about working together to fill what we lacked individually'. Of the twelve students, nine
recognized the importance of multidisciplinarity, although six encountered
difficulties coordinating contributions from various disciplines effectively.
Multidisciplinarity was often embedded in group work and not always explicitly
highlighted, as students collaborated using diverse approaches without
necessarily labelling them.

*Systems thinking* or understanding interactions within broader social and
ecological systems, was identified as a valuable skill by half of the students (six
out of twelve). This skill encouraged them to consider larger dynamics beyond
individual problems. Camélia from Group 1 illustrated this approach by
mentioning the importance of considering long-term impacts on local
communities. However, students faced challenges with the complexity of social
and ecological systems, as well as accounting for all relevant variables in
designing solutions. This skill often surfaced implicitly in project reflections,
making specific references to systems thinking less common in the interviews.

A *comprehensive approach* or designing inclusively to encompass various
cultural, temporal and knowledge dimensions was valued for creating more
balanced and sustainable solutions. Eight of twelve students recognized its
importance. Sonia from Group 3 emphasized integrating residents’ cultural and
social perspectives, saying, ‘[t]his project for me was responsible on every
scale’. Camélia from Group 1 added, ‘[w]e really had to plan ahead how the
residents would interact with the system’, showing an effort to anticipate users’
ecological and social needs. However, five students reported difficulties in
consistently applying this approach, particularly under time and resource
constraints. Amel (Group 4) noted, ‘[w]e really thought about making it global’,
highlighting the ambition to consider all project aspects while acknowledging
the complexity of aligning them.
*Social innovation* or using collaborative processes to address social issues and support positive change, was a key objective for students. They aimed to create solutions with lasting community impact. Camélia (Group 1) shared, '[w]e really tried to create something new that would have an impact', reflecting a goal to foster meaningful change. However, seven students encountered challenges balancing innovation with project constraints. Rania (Group 2) noted, '[i]t was a really different approach from what we had done before', pointing out the difficulty of introducing new methods in a structured setting. Amel (Group 4) added, '[w]e wanted to innovate by truly involving the residents in the entire process', but noted the challenge of maintaining consistent user engagement.

The role of skills connector required students to integrate diverse expertise, systemic considerations and holistic perspectives into their projects. While mediation practices within the social innovation design framework provided foundational skills in multidisciplinarity, systems thinking and holistic integration, students encountered challenges in coordinating diverse inputs and maintaining a cohesive approach under project constraints, underscoring the need for further practical experience.

## The role of the social designer as a facilitator of expression (and active participation)

In their projects, students played a crucial role in facilitating interactions among different stakeholders and adapting to the challenges they encountered. The role of the facilitator of expression (and active participation) is essential to ensure that the voices of users are heard and that the proposed solutions genuinely meet their needs.

*Mediation*, defined as facilitating interactions and communications among stakeholders, was recognized by students as important. Acting as intermediaries
between users, sponsors and other stakeholders, students often mediated to resolve conflicts and clarify misunderstandings. Amel (Group 4) highlighted the difficulty in managing divergent expectations between residents and local authorities, noting, '[w]e had to play the role of mediator between the residents and the elected officials'. Similarly, Yann (Group 1) remarked, '[i]t was really a challenge to coordinate all the stakeholders for this project', underscoring the complexity of aligning diverse participants. Of the twelve students, ten acknowledged the importance of mediation, though seven reported difficulties, especially in managing complex interactions and resolving conflicts.

*Facilitation*, which encourages participants to express themselves and contribute to the project, was highly valued. Students saw this skill as key to fostering a collaborative and inclusive environment. Yann (Group 1) noted the challenges in facilitating discussions with differing opinions, saying, '[w]e had to work together, but also with people outside the group, to move forward'. Rania (Group 2) shared, '[w]e really did everything together [...] I think it really helped us! Everyone participated'. However, balancing varying levels of involvement and skill among group members sometimes proved difficult. Nine of twelve students recognized facilitation as important, while six faced challenges in managing discussions and ensuring equitable participation.

The role of facilitator required students to mediate and encourage participation, especially when encountering obstacles. While the mediation practices taught within the social innovation design framework provided foundational skills, fully embodying the facilitator role in complex sociocultural and environmental contexts highlighted areas for growth, particularly in managing high-stakes interactions and sustaining collaboration over time.
**The role of the social designer as a translator of user experiences**

Students often acted as translators of user experiences, transforming the perspectives and needs of residents into real social design solutions. This role is essential to ensure that projects genuinely meet the expectations of local communities.

The *translation of user experiences* involves interpreting user feedback and converting it into concrete usage scenarios. Students recognized this skill as essential for aligning projects with users' actual needs. Yann (Group 1) noted, '[w]e used testimonials to really understand what people were experiencing', noting the importance of translating experiences into insights. However, six of twelve students mentioned difficulties in accurately interpreting feedback, especially when users expressed diverse or unclear expectations. Sonia (Group 3) shared, '[w]e realized that we needed to really translate their feelings into concrete actions', while finding it challenging to turn subjective emotions into specific design elements. Amel (Group 4) added, '[w]e tried to ensure that their stories were at the centre of our work', underscoring the goal of preserving user narratives while adapting them to project requirements. Eight of twelve students recognized the importance of translating experiences, although many encountered challenges in applying feedback consistently.

*Contextual anchoring* involves a thorough understanding of the cultural and social contexts in which social design projects operate, ensuring designed responses are relevant to local realities. Sonia (Group 3) emphasized the importance of understanding community dynamics, saying, '[w]e couldn't ignore the specific context of this area'. Yann (Group 1) echoed this, stating, '[w]e really had to base our work on what the residents knew about their environment', underlining the need to ground designs in local knowledge. However, five of twelve students found it challenging to fully grasp unfamiliar
contexts and integrate diverse perspectives into a cohesive approach. Laurène (Group 2) noted, '[w]e had to understand the social and cultural context to be relevant', but navigating the varied social backgrounds of residents proved complex.

## Discussion and conclusion

Social design, as conceptualized within the framework of this study, aims to integrate sociocultural, environmental and ethical issues within a user-centred design dynamic (Manzini 2015; Papanek 1973). This paradigm, developed in response to the limitations of traditional market-driven design values, emphasizes the importance of a holistic and sustainable approach. However, the analysis of the results from this study, based on the experiences of DIS master's students, reveals several inherent tensions in applying this theoretical model, at least within an education setting.

One of the main findings is the difficulty students faced in mastering and consistently applying the roles identified by Catoir-Brisson and Royer (2017). While students acknowledged the importance of competencies related to communication, coordination, skills connection, facilitation of expression and translation of user experience, they encountered significant obstacles in their implementation.

These difficulties are particularly evident in reconciling diverse stakeholder expectations, integrating various cultural and social perspectives, and maintaining an ethical approach throughout the design process. This complexity belies the idealized framework set by Catoir-Brisson and Royer, who outline these roles with an expectation of smoother integration and application within social design.
Empathy, for example, although recognized as an essential skill, is often perceived as difficult to sustain, especially given the emotional burden involved in interacting with a variety of users facing vulnerable situations. This difficulty directly relates to the facilitator of expression role, which requires maintaining an inclusive environment while managing group dynamics. Similarly, communication, which ideally should be clear and effective, faces challenges in simplifying complex technical information and coordinating exchanges between actors with often divergent interests. These challenges are at the heart of the communicator role.

The coordinator role, which involves anticipating future issues and integrating ethical considerations, also proved complex. Students expressed difficulties in predicting long-term ecological and social challenges, limiting their ability to steer their projects towards truly sustainable solutions (Fry 2008). This gap highlights a need for more in-depth practical experience and better training in foresight and sustainable planning tools. Adaptability, while essential in a social design context where user feedback is continuous and often unpredictable, is difficult to maintain in the face of time and resource constraints. Resilience is frequently tested by unforeseen obstacles and the stress generated by these complex projects (Walker and Salt 2012).

As skills connectors, students must navigate between different disciplines to help create innovative solutions (Deni 2014). However, the role of integrating multidisciplinary skills encounters problems of coordination and understanding systemic interactions (Senge and Sterman 1992). While students recognized the importance of a comprehensive approach, its implementation is often only partially successful due to the complexity of managing robust social and ecological systems. Although social innovation is an intended goal, it remains
difficult to achieve when practical project constraints overshadow creativity and
innovation (Margolin and Margolin 2002).

The role of facilitator of expression, central to social design, also faces
challenges. Students recognized the importance of mediation and facilitating
interactions; however, managing group dynamics and maintaining an inclusive
environment requires additional experience, especially in high-stakes
interactions.

Finally, the role of translator of user experiences, which involves transforming
user perspectives into concrete solutions, also presents challenges. Students
found it difficult to correctly interpret user feedback, especially when it is
ambiguous or contradictory (as is often the case when working with a range of
communities and users) (Cheng and Chou 2019). Contextual anchoring,
requiring a deeper understanding of cultural and social realities, is often limited
by insufficient knowledge of local contexts (Bookchin 1982). Although students
were not explicitly trained in mediation techniques, the structure of the course
included field immersion, project-based learning and collaborative workshops,
allowing them to engage with the roles in practice. Nonetheless, the findings
suggest the need to reinforce this implicit training with more formal, explicit
methods and reflective tools. Our results invite a critical reflection on how social
design is taught and practised. While the theoretical framework of social design
highlights ideals of sustainability, social justice and inclusion, the reality of real-
world projects shows that implementing these principles is complex and fraught
with challenges. Students often face obstacles in fully embracing the roles
identified by Catoir-Brisson and Royer (2017), as these roles require a wide array
of human, social and technical skills. Suggested areas that may require more
extensive training include mediation techniques, a stronger emphasis on
foresight planning skills, and a broader range of practical experiences in multicultural and interdisciplinary contexts. In response to the question of whether the mediation practices taught enable designers to fully assume their roles as facilitators, coordinators and translators of user experiences, our findings indicate that while students gain an understanding of social design principles, applying them in complex contexts requires additional skills and preparation.

In conclusion, although students and faculty widely accept the principles of social design, their implementation requires a more nuanced, comprehensive and sustained approach. Social design is not simply a discipline of good intentions; it requires a complex mastery of varied skills and the ability to navigate uncertain and often conflicting contexts. For future designers to truly contribute to a sustainable and socially just future, it is necessary to strengthen both theoretical training in the studio and practical experience in this field.

**Acknowledgements**

The authors would like to thank the University of Nîmes's Master of Design, Innovation and Society students who participated in this project. We would also like to recognize the project sponsor and all the participating residents.

And special thanks to Christophe Moineau for conducting the interviews.

**Ethical statement**

This article was researched and written in accordance with Intellect's Ethical Guidelines. Participants, all adults, gave their informed consent to the interviews and their use. A consent form was signed.

**Conflict of interest statement**
The authors have no conflicts of interest to declare.

## Funding

The authors received no specific grant from any public, commercial or not-forprofit agency to aid in the research or writing of this article.

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