The inherent creativity of humans is one of the key reasons why we are the dominant species on planet earth and it only takes minimal research to witness it simply explode in all societies with inspiring results regardless of creed, inherent color or richness. Human ingenuity and inventiveness has been around since time immemorial and spearheaded the relatively rapid progress of our species in many diverse and compelling ways.
Our appreciation for creativity is also inherent, and no formal training or education is needed to get excited about a certain painting, sculpture, or piece of music. These traditionally cherished forms of creativity are easy to hold up as examples of the intellectual heights we can reach as a species. However, it is important that we offer the same reverence to our engineering achievements and the sensational scientific innovations that have helped shape our evolution with such dramatic effects. How our species has sometimes used these innovations for the exploitation of the masses rather than making the world a better place for current and future generations is clearly a topic worthy of an article of its own and will not be expanded upon here.
Seemingly self-perpetuating human creativity continues at a rate in this modern world, and our collective ingenuity fuels technological and artistic advancements at an astonishing rate. Concepts that would have been considered science fiction just a few years ago are now commonplace and this is indeed an exciting time to be alive.
For the purposes of this article, we will use the term ‘design’ to define these instances of human creativity. While I acknowledge that asking 1000 people to define what ‘design’ means to them will likely result in 1000 different responses, I personally like to think of design as the physical manifestation of a piece of human creativity. This means that creativity ranging from art to engineering and even science can possibly be included and avoids the suffocating effects of self-imposed limits that we all too often encounter in the modern design world. I don’t recall Leonardo Da Vinci limiting his field of vision to painting, or Enzo Ferrari appreciating the Jaguar E Type simply for its mechanical capabilities and, in my opinion, neither should we.
Being a designer is a calling at best and every designer with this mindset will set out with the desire to create a truly excellent design. However, the outcome at the end of the day can be compromised due to anything from financial constraints, insufficient research, or even a lack of vision and very few designs achieve such a high position.
So what ingredients do you need to create a great design?
First of all, the most important ingredient for any great design is innovation and generating a solution to a problem or desire that is unique and offers clear advantages over what has happened before. Where would our modern world be, for example, without Orville and Wilbur Wright, the American inventors and aviation pioneers who developed their flying machine into the world’s first practical fixed-wing aircraft? Isambard Kingdom Brunel is another design hero who demonstrated his belief that propeller-powered ships were the way of the future in the 19th century by initiating a tug-of-war between two matching ships, one driven by paddles and the other by propeller . As the propeller-powered ship dragged the paddle-powered ship mercilessly, it was clear that Brunel was right and that the age of propellers had begun in earnest.
The functionality of a great design must also be paramount, because clearly this is the main purpose of any design. There is no point in creating a train that can get you to your destination in half the normal time if you have been driven so much that you spent most of the journey with your head tucked into a briefcase. A great design should improve our lives by making them easier, more fun, or even more spiritually rewarding. Look at the way Dyson vacuums overwhelmed established manufacturers in such a short time – their designs were dramatically more effective at cleaning floors, and customers flocked to them like bees to honey.
Large designs should also exhibit the reliability and build quality that you would expect from such an object. The pinch of a penny should not be allowed to destroy the quality and reliability of a design, rendering it incapable of performing its primary function almost as soon as it is taken out of the box. Obviously, this is subjective for each design and must be judged accordingly. For example, a catastrophic failure of something like a Rolls Royce turbine aircraft engine would be too much.
As a species, we have an innate appreciation for beautiful things, and in my opinion, any really great design should be able to make our eyes widen while appreciating intrinsic good looks. Pleasant aesthetics should not be at the expense of functionality or practicality and many great designs are amazing examples of aesthetic form that follows function. It has often been commented, for example, that the most successful Formula 1 race cars are also often the most attractive. Look at the impressive Norman Foster Bridge, the Millau Viaduc, and it is clear that the highest bridge in the world is also one of the most beautiful.
Of course, there is no point in creating a sensational design if it is inaccessible, and while clients are willing to pay a premium for the best, the designer must make their designs accessible to the intended market. History is littered with excellent designs that were too expensive for the chosen market. The small family (all aluminum) Audi A2, for example, had a wonderfully progressive design that ticked off many of the requirements for a great design, but fell over the last hurdle due to price, costing as much as a fully loaded Golf GTI. . Its design influence will be felt in an impressive new generation of eco-friendly Audis, but the original A2 itself did not sell in the expected numbers due to the high price.
In a modern world that seems to be increasingly concerned with consumption and blatant brand display, it is important to understand that these imperious brands have been forged from the creation of great designs and not the other way around. A strong brand offers the favorable ability to deliver a design to the correct niche, usually at an acceptable price and with varying degrees of goodwill on the part of the customer. A great design will take into account the historical context and the values and ethics of the company, but it must also be able to stand on its own without the need for excuses or concessions due to the associated brand.
Great designs are born when a new spark of human ingenuity and inventiveness encapsulates a new solution significantly superior to the needs of the time. Taking into account the awareness of this systemic human creativity, I think it is fair to say that “anyone can be a great designer.” This does not mean that ‘Everyone can be a great designer’, but it does mean that a great designer can come from anywhere, from any social structure and at any time. The only limiting factor to the arrival of the great potential designers of the future is the availability of education and allowing their inherent talent to find opportunities to flourish.
Here are some examples that I consider to be excellent designs, in no particular order:
Jaguar E-Type – by Malcolm Sayer
Innovations abound in this masterclass in British design, with performance that at the time must have looked like rocket speed, but cost little more than a pint of milk. Possibly the most beautiful road car ever produced.
London Underground Map 1933 – by Harry Beck
This iconic graphic brings clarity and tranquility to the chaotic city of London and remains essentially unchanged 70 years later. Visitors and locals traveling by metro took it on immediately and its influence can be seen in most urban railways around the world.
Chrysler Building – by William Van Alen
The Chrysler Building is a New York design treasure that proudly displays its Art Deco heritage and must be considered one of America’s finest buildings. Originally created as a status symbol for automaker Walter P. Chrysler, this beautiful structure was also the tallest building in the world for a short time. The Art Deco interior is even more luxurious and magnificent than its exterior and a visit to this wonderful building will make any day feel better.
The Supermarine Spitfire – by RJ Mitchell and Joseph Smith
Few designs can convey such historical significance and the Spitfire’s status as a Great British Icon will never diminish. RJ Mitchell’s success in designing for the Schneider Trophy air races carried over to the creation of this innovative fighter jet that earned its reputation in the Battle of Britain.
Toy Story – by Pixar
Pixar Animation ushered in a new era of cinema with this classic computer-animated film. The key to any good movie is, of course, writing and this movie is no exception. The whole world in this movie was created on the computer and the Pixar team took advantage of the strengths of the medium for this movie, focusing on the more geometric shapes of the toys and it works flawlessly. Any movie that can still make a tired parent smile after more than a dozen views deserves to be considered a great design.
Louis Poulsen PH5 Lamp – by Poul Henningsen
Poul Henningsen did pioneering work on the relationships between light structures, shadows, glare, and color reproduction in the early 20th century. These lighting theories still form the basis of the work Louis Poulsen Lighting does today. The PH5 light design is an inspiring design that scientifically provides a well-lit, glare-free lighting experience. The light also gently bathes the room in warm, flattering lighting tones that are less sensitive to the eye. This beautiful lighting design icon is still in production today and can continue.
Alessi Bird Kettle – by Michael Graves
The Alessi Bird Kettle did not become the number one seller in Alessi’s history without good reason.
Michael Graves was asked to design a kettle that would appeal to the American market and what he created became a cultural icon of the 1980s. This striking design is instantly recognizable and instilled with a lighthearted sense of occasion. and design style and that was a world away from any of its utilitarian contemporaries.
Ant Chair – by Arne Jacobsen
The influence of this elegant design has been substantial and, for good reason, it is a timeless classic. This chair is extremely comfortable, supportive, and pleasantly statuesque. The innovative formed plywood shell and strong yet slim steel legs resulted in a chair that is lightweight, stable, durable, easy to lift and stack, and a joy to own.
Apple iPhone
Possibly the most impressive consumer product of the last decade and one that would have seemed unfeasible just a short time ago. As Apple has evolved their concept of the i-pod into a multimedia device that can adapt to the unique needs of each user, they have created a design that left the competition reeling in its wake. Beautiful looks, exceptional build quality, and functionality that is still leaps and bounds ahead of the competition ensure this concept is a great modern design.