There’s an unmentioned underlying issue here with which I struggle myself. In the following analysis I see a systemic problem: Current American three-dimensional design is failing to contribute to the larger dialogue in the global design community.
Whether disdained or hailed by the two articles, here are the designers mentioned
Lorcan O’Herlihy – born in Ireland
Rem Koolhas – born in Netherlands
“S, M, L, XL” – Bruce Mau born in Canada
Philippe (Starck) – born in France
Zaha (Hadid) – born in Iraq
Established & Sons – UK Based Collective
William McDonough – born in Japan
Michael Braungart – born in Germany (chemist)
Campana Brothers – born in Brazil
Hella Jongerius – born in Netherlands
Marcel Wanders – born in Netherlands
Russel Wright – born in the USA (1904-1976)
Charles Eames – born in the USA (1907 – 1978)
Ray Eames – born in the USA (1912 – 1988)

The only “American” designers mentioned have all passed away. They are no longer producing new ideas to contribute to the three dimensional dialogue. Even the people quoted in Cannell’s article are no-longer actively creating designs, although very well-respected with their intellectual insights. P. Antonelli is an Italian curator and K. Wilson, R. Kroloff, and J Lasky is an American historian, an academic, and an editor respectively.

Objects, created by our past heroes and by non-American designers listed above, are infused with philosophical depth. The modern American designed-objects are deficient in having this philosophical impact because of our cultural prioritization with function. The American culture puts a great deal of emphasis on being functional. This desire “to do things” is what makes life meaningful for Americans, rather than, say something else like “to love more”. Americans, including Cannell, have a thirst for function in order to enhance productivity, effectiveness, and efficiency in society. Function is a great prioritization for technology and capitalism (Americans have invented quite a bit of functional magic in the past century) but not for designs prioritizing the true essence of humanistic philosophies.

Cannell’s title that the economic depression is good for design can be true but only so that we can create inspirational objects worthy of the shelves at Moss. Cannell’s suggested response to this economic depression is to focus design on efficiency, productivity and function to get back to our old America. We can instead reassess our cultural values and create designed-objects with our new American voice, infused with humanistic philosophies.

With our forced detachment from the cultural addiction to productivity and money, we can finally stop focusing on designs that help us do more, but instead, focus on designs that help us love more.