DESIGN 2025
Cranbrook Master Statement

Design
Medium
Dimension
Category
Date

Design Thinking
Paper
Letter Size
Theory
Spring 2025

Design Philosophy

“君子喻於義，小人喻於利。”

“The superior man thinks always of virtue;
the common man thinks of comfort.”

Kong Qiu (Confucius)

What is Design?

Design is the exploration of understanding of needs through multiple cognitive structures, and the application of the acquired knowledge to generate a series of thoughts and execution processes in responds to those specific needs. To elaborate further, cognitive structures are systems developed by human society that categorize how we perceive ourselves and the world around us. In object design, these structures include factors (parameters) such as material, color, shape, function, and environmental elements (context). In a broader context, design also involves parameters related to sociology, biology, engineering, psychology, anthropology, technology, religion, culture, and other aspects of human existence. My understanding of design lies in learning, exploring, understanding, and reflecting on the parameters that define each specific need, and orchestrating the coexistence of compatible elements to present them in a coherent and meaningful way.

设计是对事物在多个认知结构下的探索与理解，并调度得到的知识，而创造出应对某种需求的一系列思考以及执行过程。进一步去说, 认知结构则为人类社会所建立起来的一套人对于自我与周遭认知的一种认知的分类方式。在关于物体设计中有着如材料，颜色，形状，功能，环境要素(context) 等因素(parameter)，而在更广义的(broader context)的设计中，还存在着对于社会学、生物学、工程学、心理学、人类学、科技、宗教，文化等各种相关于人类存在的因素。学习，探索，理解，思索每个不同需求所属的限定因素，并调动其中互相合理共存的元素并将其呈现便是我对设计的理解。

-Original Text in Chinese

Design is the execution of ideas through a structured and intentional process. It incorporates the designer’s perspective—expressing the what, how, and why behind its form and function.

Design must serve a specific purpose, fulfilling a necessity that can take many forms. It may address functional needs, ensuring usability and efficiency, or psychological needs, creating emotional connections and experiences. This necessity can arise from the demands of a collective or an individual. Even capturing attention through visual appeal is a fundamental aspect of design’s purpose.

Design embodies our insights into objects and responses to demands. Due to its interdisciplinary nature, design serves as a microcosm reflecting the human world. It flourishes in times of prosperity and evolves amidst turmoil. World War II significantly stimulated various nations, enhancing the potential of design. Bent plywood, initially devised for wartime applications—from aircraft shells to the iconic Eames leg splints—later transitioned into peacetime furniture. Thus, a material born from conflict inadvertently fostered iconic design classics. This continuous historical interplay between demands and responses, along with distinctive insights into changing circumstances, exemplifies design’s repetitive nature. Designers, therefore, are individuals capable of perceiving demands and formulating corresponding insights.

The Problematic Design of Contemporary Era

The state of the field of contemporary design has become too fragmented, blurring the boundary between art and design.

Because design is not clearly defined and has become excessively diversified, new-generation design often fails to meet traditional criteria such as control over form, fulfillment of needs, and execution of design intent. Take, for example, the Dutch design scene, particularly critical design and companies like Droog and Moooi. While they identify as designers, much of their work does not provide tangible service to mankind. Instead, their creations primarily exist in museums. This approach to design leaves me perplexed. One could argue that it represents an extreme form of design thinking, existing purely for the sake of an idea, but it is also not negligible that such type of thinking fails to be strong enough on its other criteria, criteria that is often associated with design. For example, The Tree-Trunk Bench by Jurgen Bey executes its design thinking to a possible maximum but this design thinking operates at the expense of usability and efficiency. This is perhaps not what its focus is, but there is also almost the most important part of the design criteria that it must face, hence becoming a design that lacks tremendously in various aspects of design criteria. The more such design strays from its fundamental function—in this case, seating—the more it is pulled away from the conventional interpretation of design, and hence into something else entirely. The further it moves away from its conventional design function, the more I perceive it as art. Unlike art, which does not have to serve a particular function, good design must always serve a human need.

I’ve listed on the left a spectrum of seating to clarify my point of view of the interpretation from artistic seating to designed seating. The spectrum shows from the art side to the design side, introducing the Tree-Trunk Bench by Jurgen Bey, Lockheed Lounge by Marc Newson, Diamond Chair by Harry Bertoia, Eames Lounge Chair by The Eameses, and Aeron Chair by Bill Stumpf and Don Chadwick.
From my analytical interpretation, the Tree-Trunk Bench does not adhere to the traditional design criteria of material efficiency, consideration of spatial relationships, logical production processes, or rigorous utilitarian and psychological functions, as well as design affordances. Instead, it raises questions rather than offering solutions, which can be considered a characteristic of an art piece. Moving forward, we have the Lockheed Lounge and the Diamond Chair. These two designs serve as an interpretation of adding seating functionality to sculpture, where the designer aims to make them functional for sitting while investing significant thought and effort into the form, resulting in an interpretation of sculptural quality. This category of design can reasonably be adapted into a logical production process, and there is a discernible spatial relationship, whether within their immediate or extended spaces. However, sculptural designs often use materials in a relatively loose way, so they may not always prioritize efficiency. Likewise, the function of a sculpture might not serve a universal need. Next is the Eames Lounge Chair, which most closely aligns with traditional design criteria, relating more to mass production and industrial design, while also maintaining its sculptural (formal) beauty without compromise. Finally, the Aeron Chair demonstrates the dominance of an engineering perspective, as it merges design thinking—considering form, context, and material—with engineering concerns such as production, function, and material selection.

In conclusion, a significant part of design is characterized by the overall execution of usable resources and insights. When it emphasizes only one or two criteria, it is likely to be categorized as another known type or term, such as sculpture or an engineered object. The most vague term in this discussion is “art,” which is challenging to define and not necessarily meant to be defined. The Tree-Trunk Bench, failing to provide valuable insights into traditional design, is more likely to be considered an art piece than the other designs. The boundaries of design continue to expand, reflecting the evolution of human history. However, there should be a distinction between what constitutes a design piece and what qualifies as an art piece. The openness of contemporary design should encourage creations that may be referred to as sculptural or artistic designs, but not as art pieces in their own right.

Designs like those from Droog, in my view, has a significant value in its nationally backed marketing effort by the Netherlands.

There is a value of heavy critical thinking being presented by the design from them, but with indifferent amount of consideration of the forementioned traditional design criteria. Such work ends up only as either an image product that goes viral online or an expensive one-off piece that is presented in certain showroom or mansion as a symbol of visual attraction and social status. The two contexts it situates already critique its identity of a design. One is about image product than an actual physical product (almost an extreme form of visual designer), and two is about its accessibility and physical impact only serving a very little amount of the people which often have a higher social status. At its core, Droog’s work is just image product—designed to grab attention rather than serve a meaningful function. The result? A fleeting reaction, nothing more than a passing “interesting.”

The increasing boundaryless diversity within the Dutch design scene and similar movements is only overly pushing design further toward a state of boundarylessness. The more this trend of irresponsible diversity develops, the more design loses its categorization that has been developed in countless years of its history, and hence losing criteria under a similar standard.

Today, the trendiest topics in design are material innovation and sustainability. Yet, what I often see is a growing number of designers diving headfirst into material exploration while neglecting the fundamental function that design is meant to serve. In other words, the design itself becomes secondary, while material application and expression take center stage.

For example, there are designs that use aluminum to create a chair by simply employing industrially formed aluminum tubing, cutting it directly to serve as the seat, without considering the sharpness of the cut edges, both visually and tactically. Such design of using raw industrial material directly without further refinement of its form neglects the care for its user and exposes the user to the rawness and sharpness of the material in both visual and tactile ways. Similarly, when designers use recyclable materials or plastics to create lighting fixtures or furniture, they focus solely on material research while neglecting essential aspects like lighting design for lamps or usability for furniture.

The common shortcoming in these designs is their single-minded focus on materiality at the expense of actual design needs. At that point, the work becomes material research rather than comprehensive design—and if that is the goal, one might as well be a materials scientist, instead of a holistic designer.

At its core, design is neither engineering nor sculpture; it is the ability to integrate and address one or more specific needs. Poor design tends to focus obsessively on one aspect, pushing it to an extreme while neglecting the overall coherence of the design.

The problem with contemporary design is that many designers simply go with the flow, blindly following the trends of the moment. When material design becomes popular, designers focus on exploring new ways to use materials, which often veers into material innovation and engineering. In my view, this is almost entirely disconnected from design itself and belongs to a different discipline. Take Eames, for example—they conducted material research on bent plywood, but by the time they used it, bent plywood had already been used by engineers for fighter aircraft during World War I and II. The comprehensive research on the material had already been perfected. Designers, on their own, are unlikely to create truly groundbreaking material innovations.

Another trend dominating today is AI. The popularity of AI tools has caused designers to adopt these technologies without thoroughly considering the cause-and-effect relationships or the thoughtful reasoning that design heavily relies on. This kind of blind design will only have a short lifespan.

Even though I express strong dissatisfaction with these types of designs, I must acknowledge that the global environment today is challenging. It is because of economic difficulties that fast-moving consumer products dominate the mainstream market. In order to attract capital, products must be quick and cheap to develop and produce, and visually attention-grabbing. Ultimately, for many designers today, survival has become the primary driving force, rather than a pursuit of design excellence itself.

The Timeless Good Design

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.

Reflection on the Role of Design in our Historic Moment

People from 60 to 200 years ago might have found widespread railway adoption as the most transformative event of their lives. Regardless of peace or turmoil, they spent their remaining years within familiar frameworks. Today’s generation, experiencing comprehensive industrial revolution, the internet, and imminent advanced artificial intelligence, must continually adapt to rapid lifestyle changes. Our brains must recalibrate every 5 to 10 years.

-Chris Fraser

We inhabit an era of advanced technology and conflicting ideologies. For generations, design referred to physical objects beyond architecture; it has evolved into an expansive concept encompassing diverse fields and nuanced interpretations. Today's design reflects societal progression, continually iterating through culture, technology, materials, ideologies, and forms. Historical context, regional culture, and design's interdisciplinary nature collectively shape contemporary understandings of design. The state of the field of contemporary design is too blurry; in the contemporary context of AI, collective survival needs, and accelerating industrialization/automation, design originating from human cognitive autonomy is transforming. Instead, technological analyses of environments, market demands, and ecological survival requirements increasingly dominate.

My attitude toward the future of design combines pessimism with optimism. Even if design, as traditionally understood, becomes obsolete, humanity will invariably reinvent analogous activities under new labels. Each tomorrow continues to arrive anew.