Projects
Writing
Information
- Introduction
- The Capacity of Form
- Designed Form as Furniture
- The Relational Field of Form
- The Reconciliation of Form and Function
- Complex Form in Harmonization
- Restraint and Richness
Complex Form in Harmonization: Continued - Discerning Proportion
- Reflection on Contemporary Design
2023-2025
- What is Design?
- Problematic Design of Contemporary Era
- The Timeless Good Design
- Reflection on the Role of Design in our Historic Moment
-2023
The best design is when form harmonizes with function, and above all is the soulfulness of its designer.
Exceptional designers shape physical form, but designers with mastery breathe life into these creations. Today, form (shape, structure, appearance) is often overlooked, as exemplified by the aluminum and recycled wood chair identified above. Diverse content often diverts attention away from meticulous scrutiny of form. However, form profoundly affects a design far beyond its physical properties. When referencing form, people typically envision appearance; yet form encompasses much more. A chair’s form influences comfort, visual perception, and associative meanings. Holding Aldo Bakker’s Vinegar Flask reveals the subtle behavioral and gestural guidance embedded by the designer, who also directs the flow of vinegar and prompts observation of the fluid’s movement. Sitting on Gaetano Pesce’s UP Chair, one experiences not only Pesce’s symbolic interpretation of the female form but also the vibrant colors and striking shapes that distinguish the piece.
These designers illustrate how their works extend beyond mere form; they integrate personal identity and philosophies while addressing practical realities. As Italian designer Ettore Sottsass articulated, “When Charles Eames designed his chair, he was not designing a chair, but a way of sitting; that is, he was not designing for a function, but designing a function.” In my view, this represents the pinnacle of design—the ability to endow objects with a soul. This means that a design achieves the impeccable execution of both form and function, while also presenting the designer’s vision of the object and its surroundings. Encountering designs such as Mies van der Rohe’s Barcelona Chair or various arrangements of Eames’ LCM Chairs, or relaxing into the Eames Lounge Chair and Ottoman, immerses one in the lifestyle envisioned by these designers.
Outstanding design emerges from a synthesis of contemplation and planning, effectively executing thought into final realization. Thought initiates and directs design, categorizing and actualizing concepts, while planning organizes these actions and facilitates their execution. Effective planning does not negate improvisation; instead, it prevents excessive divergence. Crucially, successful design relies heavily on execution management—efficiently creating the most impactful design within constrained timelines and optimal material selection. Mastery of these processes elevates design to its optimal state.
Good design withstands rigorous scrutiny, demonstrating thorough understanding of industry norms without compromising the creator’s individuality and intentions. Design fundamentally serves humanity. Iterative examination strengthens design’s persuasiveness, with well-considered designs typically characterized by harmony and autonomy, resilient in debates and criticisms. Designers must refine their professional expertise continually while adhering steadfastly to their personal philosophies and principles. Practically, conforming to industry standards often conflicts with individual creativity, as greater conformity tends to erode personal expression. However, the designer with mastery manage to deeply comprehend industry conventions while decisively upholding their unique principles at critical junctures. Thus, meticulous scrutiny of design constitutes a process of understanding values and integrating personal philosophies.
Design thinking should be holistic. Throughout history, disciplines and industries have become increasingly specialized, yet design remains an inherently integrative activity. To think about an object requires considering both the larger and smaller contexts around it. For instance, when building a house, one must consider not only the landscape design but also the interior design. Similarly, when designing a chair, it is enveloped by the interior space in which it resides, and it, in turn, envelops the person who sits in it.
When considering an object, one must also be aware of its context—the spaces and elements surrounding it. This type of thinking is simple to understand, yet difficult to execute finely, especially under the current design and business market. In the era when architects used to design almost everything, they execute the entire design from architecture to the object in the space. This allows the design core to be unified in every element that a viewer can perceive. The Barcelona Pavilion by Mies Van der Rohe for example is a masterpiece from the architecture, to its interior and eventually the furniture in the building. Regardless of personal preference, it can be argued that both the pavilion and the furniture became a modernist icon and most importantly, the Barcelona chair and the pavilion belong to each other. However, not all of the buildings and interior objects are designed by one person, and especially nowadays, collaboration between architect and designer are quite common, which in my opinion is the way to make good design in this era. When designers work along the same line of thought, designs across different scales can be more seamlessly integrated and executed.
In my design process, I emphasize the necessity of each design element—questioning why it exists in the first place. The presence of form in design is dictated by its necessity. For example, why does a house need windows? Because they allow natural light to enter. Why, then, should there be multiple smaller windows or one large window? Because the existing natural light may be insufficient. Ultimately, the purpose is to ensure that the amount of natural light aligns with the needs of the user.
This perspective shares some similarities with many functionalist and minimalist ideologies. Designers like Jasper Morrison and Naoto Fukasawa are some of the contemporary icons that design objects with such philosophy. However, Todd Bracher’s essentialist design philosophy resonates with me more deeply.
According to Bracher’s Philosophy, “ when a design is at its most essential, it achieves a balance where its purpose is fully understood by the consumer, efficient for manufacturing, and transcends trends and timescales. This essentialist approach ensures that every component of a design is meaningful, with nothing superfluous detracting from its efficacy. It mirrors the natural world, where every element is in harmony with its environment, evolving to meet the needs of its ecosystem.”
Returning to the example of windows, should one opt for multiple small windows or a single large one? The answer is often shaped by factors such as manufacturing methods, cost, and efficiency. However, it is also strongly influenced by the designer’s own sensibility. Within the bounds of logic, it is precisely this level of refinement that distinguishes one design from another. Ultimately, I strive to ensure that every design element is an inherent necessity, while exploring the harmony between form and function—this, to me, is what defines good design.