First, the text draws a parallel to iconic design controversies, positioning the Gem identity within a global lineage of “brilliant but misunderstood” projects, such as the Eiffel Tower and the London Olympics logo. It casts the designer against the public, implying a long historical precedent for the public’s failure to recognise good design. This exposes the defensive posture some designers adopt when their work is under scrutiny. More critically, it is an argument fundamentally at odds with the design field itself, one that…
