Most designers are comfortable in the world of known problems—we talk to users, gather insights, iterate based on feedback. But what happens when you're designing for a future that doesn't exist yet? When you're creating products for people who haven't been born, or technologies that might not emerge for years?

Today's guest has spent decades designing for the future, a space where design specs are ambiguous at best. Nick Foster led design at Google X where he worked on over 200 moonshot projects, from flying machines to nuclear fusion.

Nick has written a provocative new book that provides helpful guidance on how we might approach designing for the unknown. In Could, Should, Might, Don't: How We Think About the Future, he argues that we've fallen into predictable patterns of thinking that are actually making us worse at anticipating what's coming next.

We chat with Nick about why most futures thinking falls into one of four problematic categories, and the importance of ethics in designing for the future. We also talk about the hidden dangers of "numeric fiction" and data-driven predictions, what he learned working with PhD scientists who had never met a designer, and why Silicon Valley's obsession with KPIs is killing long-term thinking.

Bio

Nick Foster RDI is a Futures Designer based in Oakland, California.

He has spent his career exploring the future for globally renowned technology companies including Apple, Google, Nokia, Sony and Dyson. As Head of Design at Google X, he led a team of designers, researchers and prototypers developing nascent technologies such as brain-controlled computer interfaces, intelligent robotics, stratospheric internet balloons and neighborhood-scale nuclear fusion.

Despite the ambitious nature of much of Nick’s work, he’s well known for his down-to-earth and occasionally irreverent approach to the future, and in 2013 he coined the term Future Mundane. In 2018, Fortune magazine described him as ‘one of the world’s foremost leaders in speculative design’ and in 2021 he was awarded the title Royal Designer for Industry - the highest accolade for a British designer - in recognition of his significant contributions to the discipline. He’s also an accomplished writer and public speaker, producing multiple books and sharing his thinking about the future with audiences across the globe.

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