The appeal of the centrist escape hatch for designers isn’t hard to grasp. You fall in love with something — skyscrapers, letterforms, robots, websites, cars — and dedicate yourself to its craft, only to run headlong into the cruel depravity of its mode of production. Caught between the thing you love and are paid to do and the political implications of doing it, a trap door appears beneath you: What if capitalism could be designed around? One could infer that the seminal impulse of design-as-politics is bargaining with the nature of politics, as one might do with grief — a compulsive search for loopholes, in which the underlying problems are swapped out for satisfying puzzles.