Facing the Fourth Industrial Revolution: empowering (human) design agency and capabilities through experimental learning

The Fourth Industrial Revolution (Schwab, 2014) is a paradigm characterized by the convergence of technological changes that impact the nature of work, the design and materialization of products and services, as well as their market, their structure, and their relations with human agents. This systemic process also changes the design field, its cultural and socio-economic structures, its consolidated domains and practices. We witness both new opportunities for, but threats to, the conventional system of human imaginative and operational capacities that are changing how they can be learned. The re-discussion of the design(er) role affects the structure and meaning of the discipline, as well as the processes, places, and capacities that can generate learning. Design education is a core component of this change. It is so for those who will shortly become designers and for retrofitting the knowledge and skills of practitioners and educators. The article reviews the main studies and theories on the transformation of the production system and the market. The focus is on the structural factors which enable identification of the leading transformational drivers of the experimental learning. These factors are the basis upon which changes in design education and designer skills operating within digital distributed socio-technical systems will be defined.


INTRODUCTION
Changes in design as an activity, process, and discipline are inextricably bound up with the structure of the current socio-economic system and the transformations in the nature and forms of work that have characterized it since the Second Industrial Revolution. The emerging exponential technological development and innovation (Bostrom, 2014;Hagel et. al., 2013) is driving a global process of technological democratization which through progressive integration-substitution between humans and machines is generating changes in the overall equilibrium of design agencies. It has a direct impact on how designers' activities are defined and how they learn new work processes. The central issue of this article is undoubtedly an analysis of the democratization of design and manufacturing technologies . Facing the Fourth Industrial Revolution: empowering (human) design agency and capabilities through experimental learning. Strategic Design Research Journal, volume 13, number 01, January -April 2020. 72-91. Doi: 10.4013/sdrj.2020.131.06 and its impact on design, production, and distribution processes -with a specific focus on the evolution of making and digital fabrication -and of the increasing impact of machine learning on these same processes (Baumers and Ozcan, 2016). Moreover, the acceleration of innovation impacts on design education and design profession processes, and drives designers to evolve more rapidly, stimulating them by increasing their skills so that they can better adapt to the changes in the methods of production of goods and services. The topic, therefore, becomes the progressive transformation of forms of learning -in particular, those associated with experiential learning (Seaman et al., 2017) -and its increasingly central position in the activities, processes, and places that primarily characterize the relationship between design education and industry. A reflection on future design skills evidences three main emerging questions:  which design skills will emerge, which of them will change and be drawn up in future years;  how design processes are changing and how they will change in the future, and what new activities and tasks designers will have, in particular, the new relational system between designers and technologies and between design and the production system of goods and services;  who are, and who will be, the new actors involved in design activities (hybrid individuals and organizations, designs that are not produced by the designer alone or created without a designer or generated by machines, etc.).

THE BEGINNING OF THE TRANSFORMATION OF DESIGN SKILLS
Like many sectors that developed at the start of the twentieth century, design gradually created and consolidated a model of a profession and education concerning the common process of the spread of the industrialization of the manufacture of artefacts and the creation of market and consumption models. The strong ties between design and the various elements of the manufacturing system created a link to the specific places where the associated educational and professional activities were carried out: the workshop-atelier (in the sense of a studio or shop), the factory and the school and a model of interaction with society that was defined by a system of political-institutional representation -consisting of domestic and international professional associations for industrial design -that was closely connected with, and respondent to, the logics of a nineteenth century model of society. From Bauhaus and Ulm to the emerging Fab Labs ecosystem -the area of interaction among design education, the concept of profession, and the manufacturing system (Blikstein, 2014) PAGE 74 . Facing the Fourth Industrial Revolution: empowering (human) design agency and capabilities through experimental learning. Strategic Design Research Journal, volume 13, number 01, January -April 2020. 72-91. Doi: 10.4013/sdrj.2020.131.06 reflected long and hard on the association between individual cognitive and operational capacities and the social role -both individual and collective -of the discipline. In economically advanced countries, the development of the post-industrial society (coincident with the spread of ICT) was characterized by the growth of the service sector and a reduction in the number of employees working in industry as a result of the increasing automation of machines and production processes. It accelerated the diversification and disciplinary specialization of design activities by altering the central role of industry in governing the relationship between the design profession and education and establishing a new organizational and strategic development of design professionals and training methods focused more on creative industries and the service sector. The close connection between education and profession was for long the central objective of an implicit political project that gave the training system the task of preparing a class of individuals who would become the (most) creative sector of advanced capitalism's production system. Although it constantly evolved and diversified, it maintained a more or less stable structure for decades, thereby enabling the growth and structuring of design, first as a discipline and then as a field of activity: more design schools and universities, more professionals working in the design market, and greater economic and cultural importance of design in society (Design Council UK, 2015). This mechanism of structural growth in the design field started to change at the beginning of the 1990s. The acceleration in the globalization of goods, together with productive delocalisation and the deindustrialisation of manufacturing contributed to the separation between industry and design's training and professional systems. The gradual decline of industry as the absolute protagonist in the relationship with design accelerated the internationalisation of design education, and contributed to the birth and progressive growth of creative industries with the consolidation of a creative economy (UNESCO 2013, UNCTAD 2016, Julier, 2017 and the birth of the idea of a creative society (Gauntlett, 2011).
At the same time, the first idea of a relationship between the design world and the service economy also provoked a conclusive crisis as regards the capabilities required of both individuals and organizations working actively and professionally in the design field. The entry into the crisis of the traditional counterpart of the world of design education -i.e. the world of enterprises and professional firms -drove designers to explore self-employment and self-entrepreneurship. Although this has not been measured it has led to a gradual shift from a design market with few designers and many industries (characterised by stable and long-lasting forms of collaboration between designers and companies) to a market in which design has become a mass profession in a hyper-competitive, globalised industrial context (characterised by a growth in services and platforms for professional disintermediation that PAGE 75 . Facing the Fourth Industrial Revolution: empowering (human) design agency and capabilities through experimental learning. Strategic Design Research Journal, volume 13, number 01, January -April 2020. 72-91. Doi: 10.4013/sdrj.2020.131.06 are transforming traditional relationships with companies). The global massification of the designer has made design activities more distributed, but also more unstable, and it has led to a surplus of supply of design capabilities that have progressively required designers to become more connected and entrepreneurial (social skills), and to diversify their activities, which now range from design to consultancy, and from education to experimental forms of micro-and self-production.

WORK TRANSFORMATION IN DESIGN AND PRODUCTION OF GOODS AND SERVICES
The human action of artificializing nature (Leroi-Gourhan, 1993;Latour and Porter, 2004;Arthur 2009;Simondon, 2017) has created a technical sphere that is becoming increasingly broad, pervasive, and rich in relations. Reflections on design and designing and the debate on the artificialization of the world (Mumford 1934;Papanek 1971;Maldonado 1972;Margolin and Buchanan, 1996) have therefore become central elements for reflection on the discipline: in fact, humans have always acted individually or collectively through technology and work, i.e. through gradual mechanisation of the world. Since the birth of cybernetics in the 1940s, this process has been increasingly applied to the concepts of a machine, control, information, and biological and mechanical system, and recently also to design, and the possibility has been explored of conceiving a unified theory of mind and machine. From the mid-1950s onwards, this path began to be pursued through the development of Artificial Intelligence (AI), which opened up the possibility of constructing machines (physical or algorithmic, robots or programs) that could for the first time be considered independent artificial agents. The development of AI, together with that of computer sciences and technologies, has brought the topic of agency and the transformation, strengthening, and replacement of human skills to centre stage: from the simple principle of controlling a closed system to an active and performative view in which machines and computers can work actively in the environment of human experience. This socio-technical view of technological changes coincides with the great wave and cycle of ICT innovation first described by Kondratiev later developed by Carlota Perez (Kondriatev, 1984;Perez, 2003), and finally defined Fourth Industrial Revolution (Schwab, 2016;Ford 2016;Gilchrist, 2016). It means an interconnection of a cluster of technologies for the design, production, and distribution of goods and services increasingly available at a declining cost. This systemic connection effect is creating an extensive and pervasive technological environment which enables a plurality of actors -no longer only firms and professionals -to develop innovations (Tapscott and Williams, 2010;Shirky, 2011;Von Hippel, 2016). The topic of accelerating technological development as the trigger of innovation (Kurzweil, 2006;Bostrom, 2016) is ever-present at all levels of the design field. Computerised and algorithmic design technologies enable the generative and exponential development of design solutions, and the exponential evolution of technologies such as 3D printers is accelerating the possibility to materialise artefacts of all types. Lastly, the innovation of procedures and product placement services in new companies is conceived and designed to scale up on the market, exponentially. Thus being generated is a potential system for exponential innovation (Hagel, Seely Brown et. al., 2013;Ismail et al., 2014), but (to date) there is no corresponding exponential growth of human productivity and design work. Within our environment, the connection between the artificial population of new agencies is generating a fundamental new condition: the creation of complex techno-human ecosystems that can no longer be viewed as passive or neutral concerning the production of the artificial and design ( fig. 1.1).

Human and Non-human Agency in Changes in Production and Work
Acceleration of technological innovation generates a condition unprecedented in the history of socio-technical evolution: the development of a system made up of an infinite number of artefacts, machines, systems, and networks, united by multiple levels and channels of connection. The agency of this system is no longer merely human and individual; instead, it has become social-collective and technological: a general, fundamental property of tightly interconnected human and non-human systems. The (co)evolution of human and non-human agency is even more evident -on a more competitive than collaborative logic -in systems for producing goods and services, where physical and algorithmic robots are undergoing exponential growth, with a compelling economic and social impact ( Fig. 1.2).  both low-and high-skilled, the development and spread of intelligent, hyper-connected machines are contributing to an overall loss of demand for human labour, in a market that less and less requires and pays for skills replaceable by robots. At the same time, they believe that it is possible to rebalance the situation by means of the continuing education of individuals and the development of three areas of professional skills that cannot be replaced by automation and machines: creative endeavours (for example, creative writing, entrepreneurship, and scientific discovery), social interactions (Deming, 2015), physical dexterity and mobility. According to Brynjolfsson and Frey and Osborne, 2013). It relates to the ability to solve problems in a real-time setting, to design, use, modify/correct technologies, to allocate human, economic, and material resources efficiently, and to work in close contact with other individuals in order to achieve objectives (Nesta, 2014). The ability to make precisely coordinated movements of the fingers of one or both hands to grasp, manipulate, or assemble very small objects. The ability to quickly move your hand, your hand together with your arm, or your two hands to grasp, manipulate, or assemble objects.

Creative Intelligence
Originality, Fine Arts.
The ability to come up with unusual or clever ideas about a given topic or situation, or to develop creative ways to solve a problem. Knowledge and theory and techniques required to compose, produce, and perform works of music, dance, visual arts, drama and sculpture.

Social Intelligence
Social Perceptiveness, Negotiation, Persuasion, Assisting and caring for others.
Being aware of others' reactions and understanding why they reach as they do.
Bringing others together and trying to reconcile differences.
Persuading others to change their minds or behaviour. Providing personal assistance, medical attention, emotional support, or other personal care to other such as co-workers, customers, or patients.
Source : Frey and Osborne, 2013 As further confirmation, it is of interest to note that in addition to design, other planning sectors, from architecture to various branches of engineering and a series of professions that pertain to the creative industries (for example, photographers, craftspeople, and multimedia artists) are concentrated in the same rankings. It can, therefore, be seen from the work of will continue to do so, on all levels of planning, manufacturing, and distribution processes, and will also extend to the management of corporate activities. A situation with such a high degree of pervasiveness requires the development of specific inter-disciplinary skills: comparison of the development of the skills that will be needed by the market between 2015 and 2020 (Tab. 1.2), shows that the most evident change is associated with substantial growth in the importance of complex problem-solving related both to critical and computational thinking. creative skills and technical expertise, but also the capacity to use this augmented agency to construct narrative environments (Latour, 2008) that are innovative for companies (and not only them). This task entails the need to exponentially increase and connect skills that a single individual cannot possess. As early as 2011, the Institute for the Future's Future Work Skills 2020 report demonstrated the need for people to develop a predisposition to operate in work contexts applying organizational forms and abilities in continuous evolution.
Contexts of this kind require the constant re-examination of the requisite skills and the development of appropriate learning strategies in order rapidly to identify and combine the skills necessary for upgrading personal capabilities.

Technological transformations produce a change in the processes and the places where skills are created and built
The development of the democratization processes of design and manufacturing means underlies phenomena that are today defined as a movement or society of makers (Gauntlett, 2011). This is a recent phenomenon with a history of little more than ten years (Gershenfeld, 2007;Anderson, 2012 and Osborne claim that, the creative professions will become even more resistant to automation in the future (in the United States and the UK, 86% and 87% respectively of creative jobs are believed to be at a small or zero risks of automation). According to this study, technological development will have an enabling and empowering effect on creativity that is seen as suited to strategically intercepting future developments in the field of artificial intelligence and robotics: "… These findings reflect the fact that machines can most successfully emulate humans when a problem is well specified in advance -that is, when performance can be straightforwardly quantified and evaluated -and when the work task environment is sufficiently simple to enable autonomous control. They will struggle when tasks are highly interpretive, geared at 'products whose final form is not fully specified in Bianchini advance', and when work task environments are complex -a good description of most creative occupations…" .
Makers' skills often relate to an approach based on 'tinkering' -that is, a method or approach that has the ability to create things by experimenting with science and technology -or a heuristic approach based on experiential learning. This is a learning model based on experience and realised by means of actions and experiments and the use of creative and practical abilities in order to attain a purpose or resolve a problem (Blikstein, 2014), as  (Evans and Gawer, 2016) and the platform economy (Kenney and Zysman, 2016) develop through the growth of outsourcing and the combination of on-demand and projectbased work in which diverse groups of professionals with complementary skills are assembled and disassembled to collaborate on specific tasks. This model, which has been called the Hollywood Model or the Open Talent Economy (Deloitte, 2016), is also increasingly characteristic of design activities, and it is well-suited to profiles like those of makers. In a similar context, makers learn to work with technologies, using them synergically so as to adapt them for an experimental or productive purpose, and while they are learning how to use, modify and create them, they understand their complex and transformative nature in the evolutionary sense (Arthur, 2011 and. Making is therefore the final result of a group of highly inter-disciplinary activities that involve many different domains, such as mechanics, robotics, informatics, electronics, design, and material science, through the use of an empathetic collaborative approach in which pragmatic and manual skills also play a part, activating project-based processes in enabling physical locations (Fab Labs or makerspaces).
This open form of the ability to design, which is directed towards problem setting, and not just problem solving, combines planning and programming cultures and therefore extends to all levels of the creation, materialization, and distribution ideas, thereby generating innovation also in the social field (Ehn, 2014).
In Beyond (EU Commission, 2017). The report highlights that in the high-tech economy it is necessary to increase the number of leaders, stressing that technological leadership is inseparable from creative leadership (Puccio et al., 2010).
Among its policy recommendations, the report The creative economy and the future of employment 2030 (Bakhshi and Windsor, 2015) in the Manifesto for the Creative Economy cites the development of a government strategy that seeks to develop a strong bond between STEM and Arts (and therefore from STEM to STEAM) within the training system, with the purpose of creating a convergence between the creative and high-tech economies able to increase the quality of employment. In a recent article for NESTA (Mulgan, 2017)  manufacturing sectors emerge specific skills for design activity that still indicate a predominant inter-disciplinary hybridization with digital technologies, also within a logic of boosting designers' capacity to interact with users and the market (Tab. 1.3). Creative and digital sector New forms of mobile and home-working crowdsourcing platforms for creative workers.
Increased use of ICT and digital technologies in design (e.g. simulated environments).
Increased inter-disciplinary thinking and ethnographic skills for user/market experience and product design.
Entrepreneurial and self-organization skills.

Manufacturing
Job losses for low skills due to automation and digitalization.
Need for (up-skilled) technicians to manage automated production systems.
High skills engineers to manage the transformation of the manufacturing sector.
Relevant skills for technology integration, including skills in design, simulation and data analytics. Core engineering skills.
High-level communication and collaboration skills to work in multi-disciplinary teams.
Multi-disciplinary technical, commercial and management skills.
Innovation, commercialization skills. world. This potential new structure has two consequences: it shifts the sector's centre of gravity from a more humanistic to a more techno-human, or post-human, dimension (Braidotti, 2008). It means that design is, and remains, a human activity which, if its creative and operating processes are technologically hybridized, will be able to work in an increasingly integrated manner in areas of business like industry or in sectors such as healthcare and transport, in which automation and a non-human agency will become increasingly important. The second consideration is that the skills identified by Frey and Osborne as resistant to change are already syntonic with some of the more recent transformations of skills relating to design. These three elements are co-present in a profile that has been called designer=enterprise (Bianchini and Maffei, 2012), which combines forms of production based on collaborative networks, and the capacity to personalize products through new forms of personal relationship, which may also be mediated by technologies.
The features and capacities of the designer=enterprise undoubtedly have points of contact with the culture and profile of makers and the development of forms of crafts and selfproduction supported by the parallel development of digital fabrication technologies (Micelli, 2011). Today, figures such as designer-producers and designer-makers are the prime evidence of a broader framework of transformation of hard and soft skills. In this regard, besides the above-mentioned NESTA, the Craft Council UK, in its report entitled Innovation through Craft: Opportunities for growth (KPMG for Craft Council UK, 2016), working on boosting the role of craft innovation in the domestic economy, has drawn attention to two aspects:  enhancing the potential of craft innovation (or innovation through craft) in frontier sectors of industries such as synthetic biology or digital manufacturing (considering that in the past ten years, the contemporary craft culture has already seen a crossfertilization process involving design and maker culture;  the merger of craft skills and skills present in the engineering, science, and technology sectors, with the aim of translating sector-based hybridization into training programs.

EXPERIMENTAL LEARNING AS A KEY TO FUTURE CHANGES IN DESIGN SKILLS AND DESIGN EDUCATION
The impact of technology on our experiential environment, as seen through the transformations in the nature of products, the production of goods and services, and forms of work, requires not only the more traditional approach to design, but also a humanistic vision able to integrate, and to be incorporated with, the STEM disciplines. In recent years, the  The issue that emerges is the development of a range of new skills that is, a combination of creative, organisational, social, and technological skills that permit individuals to design and experiment with and the technologies, to develop processes for designing in new ways, and to create and complete post-industrial artefacts that merge design, craft culture, and technology. New skills require a combination of design sector culture and thought, computer-algorithmic culture and thought, and scientific thought. These skills can be developed and strengthened at a personal level (individually or collectively) by means of hybrid practices such as 'making' being applied to education and the profession, and located in hybrid places where there is cross-fertilisation among individuals with different profiles and professions and training, scientific, professional, entrepreneurial, and cultural activities.
Three possible directions for the development of new Skills can be hypothesized:  skills that enhance the designer's capacity to act and interact systemically with companies, users, and the market. These skills are well-suited to the design of new experiences for users in contexts such as augmented reality in various domains, new digital identities for clients, and automated services using intelligent machines. But these are also skills that enable a designer to use data strategically to develop highly-skilled and personalized services, to carry out more in-depth studies on client behavior, and to design projects that include experience in the use of products based on artificial intelligence so as to predict or anticipate users' tastes or needs;  skills that enhance the designer's capacity to operate in open organizational contexts.
These skills increase the ability to manage innovation processes, in particular creative skills associated with management of companies' cybernetic infrastructure: that is, the creative and strategic management of all a company's machine learning, as well as the skills involved in managing hybrid innovation processes characterized by a combination of design, science, and technology, and those to do with the design of intelligent systems that enable exponential innovation by companies;  skills that enhance the designer's capacity to specialize for work in production contexts with convergent technologies. These skills enable a designer to operate in fields such as biotechnology, bio-fabrication, and bioelectronics, and to use 3D design and production methods (from design to printing and sales, gaming, or learning, or the use of artificial intelligence to design products better or make them more intelligent).
This more comprehensive idea of Experimental Learning concerns not only the development of new skills also their growing transformation through interaction with the places allocated to their learning and those in which design-materialization-distribution activities are carried out. Experimental learning requires evolved forms of experiential learning that complement peer-to-peer and machine/computational learning relations. This made possible by the inter-connection among:  experimental skills, which enable the individual to develop forms of craft and hands-on innovation that combine design, technology and science;  experiential skills, which enable the systematization and enhancement of the learning that springs from all the individual's work-life experiences;  entrepreneurial skills, which enable the design and re-design of a job or business activity;  heuristic skills, which enable the individual to use algorithmic processes to exponentially accelerate the possibility of developing design solutions with exponential complexity.
The above-mentioned set of skills characterize designers simultaneously as adaptors and innovators. This attitude linked to the transformation of work, within an increasingly organized system of project-based and on-demand activities, highlights another matter on which design education should reflect. New forms of work will increasingly resemble what designers have learned in recent decades in order to survive in the market. Especially because they no longer work for industry alone, designers have developed the social and organizational skills that now serve them to operate in an empowered and resilient manner through a technological symbiosis. Makers, designers=enterprises, and other species of independent innovators can represent a first step of an evolutionary path. To paraphrase Manzini (Manzini, 2014), all this means that "every worker in the future should act or be like a designer…" design skills will probably become the protagonists of the transformation of skills in general, becoming key resources for any form of future work.