Design Manifest
Design for the 21st Century
This was my first exploration of design philosophy and trajectory, written in 2015 during my first semester of the MFA program. All the insights were derived from the course ‘Design for the 21st Century‘, my personal interest in positive psychology, specifically in emotional intelligence.
While my language and understanding at the time were limited, this manifesto proudly represents the initial seed of my design philosophy and values. It reflects the formative stages of my journey, capturing the curiosity and aspirations that have continued to shape my trajectory
In my experience, design is often deployed as a tool for commercial gain, saturating our lives through television advertisements, magazines, posters, and digital platforms. This emphasis on material comfort—ever-evolving and increasingly unattainable—has come to define the path to a so-called fulfilling life. Contemporary design has been instrumentalized to appeal to logic, functionality, practicality, and aesthetics, mirroring a materialistic approach to existence. Designers craft products that promise utility and visual allure, persuading consumers to equate ownership with identity and social status. Emotional design, which many view as essential for creating brand loyalty, often blurs the lines between genuine needs and manufactured desires.
As Dunne and Raby articulate in Critical Design, products can serve as “role models,” subtly reshaping user perceptions and desires by embedding psychological needs into their design. For example, while cell phones enable social connectivity, advertising often exaggerates their indispensability, portraying them as essential for relationships and social standing. This creates a false sense of identity, where products dictate personal value and social worth. The result is an emotional manipulation that convinces consumers to define themselves through possessions, fostering comparison, envy, and dissatisfaction.
I term this phenomenon negative design. Negative design perpetuates superficial well-being, reinforcing a dysfunctional socio-economic system that prioritizes materialism over meaningful human connection. While this may not always be intentional, its consequences—stress, anxiety, and emotional disconnection—are undeniable. It is time to pivot toward a more constructive paradigm, one that leverages the transformative potential of design to foster emotional well-being and personal growth.
Enter positive design: a philosophy that prioritizes human flourishing. Positive design transcends utility, targeting the deeper emotional and psychological needs of individuals. It acknowledges that design does not exist in isolation but is inextricably linked to social, cultural, and economic contexts. By addressing these dimensions holistically, positive design can shape behavior, influence thought, and engage the emotional core of individuals.
To actualize this vision, positive design must rest on four foundational pillars: ethics, virtues, emotional intelligence, and positive habits.
Positive design seeks to empower users, offering them the space and tools to co-create meaningful experiences. It fosters relationships grounded in care and mutual respect, emphasizing the importance of community and shared purpose.
As an educator, I advocate incorporating emotional intelligence, ethics, virtues, and positive habits into design curricula. This approach not only equips students with technical skills but also nurtures their ability to relate deeply to themselves, others, and the world around them. In an era of rapid technological advancement, these timeless principles are more essential than ever.
Designers must embrace positive design to promote sustainability and well-being. By prioritizing eco-friendly practices, ergonomic solutions, and emotional resonance, we can create products that uplift individuals and contribute to a healthier planet. Positive design offers a pathway to integrate human well-being into economic systems, making it a measurable and actionable priority.
Positive design does not seek to eliminate negative design but rather to complement it. Complexity, with its inherent unpredictability, drives innovation and discovery. By navigating the interplay between positive and negative design, we can uncover new opportunities for growth and transformation. Positive design is not a replacement for conventional approaches; it is a lens through which we can enhance our understanding of human potential.
Ultimately, positive design strives to help individuals connect with their inner world, fostering self-dignity and well-being. In doing so, it contributes to the creation of a more compassionate, sustainable, and fulfilling society—one where design serves as a catalyst for both personal and collective evolution.
As Dunne and Raby articulate in Critical Design, products can serve as “role models,” subtly reshaping user perceptions and desires by embedding psychological needs into their design. For example, while cell phones enable social connectivity, advertising often exaggerates their indispensability, portraying them as essential for relationships and social standing. This creates a false sense of identity, where products dictate personal value and social worth. The result is an emotional manipulation that convinces consumers to define themselves through possessions, fostering comparison, envy, and dissatisfaction.
The Need for Positive Design
I term this phenomenon negative design. Negative design perpetuates superficial well-being, reinforcing a dysfunctional socio-economic system that prioritizes materialism over meaningful human connection. While this may not always be intentional, its consequences—stress, anxiety, and emotional disconnection—are undeniable. It is time to pivot toward a more constructive paradigm, one that leverages the transformative potential of design to foster emotional well-being and personal growth.
Enter positive design: a philosophy that prioritizes human flourishing. Positive design transcends utility, targeting the deeper emotional and psychological needs of individuals. It acknowledges that design does not exist in isolation but is inextricably linked to social, cultural, and economic contexts. By addressing these dimensions holistically, positive design can shape behavior, influence thought, and engage the emotional core of individuals.
Core Tenets of Positive Design
To actualize this vision, positive design must rest on four foundational pillars: ethics, virtues, emotional intelligence, and positive habits.
- Ethics
Bruno Latour reminds us that design inherently involves an ethical dimension, grappling with the dichotomy of good versus bad design. As a designer and educator, I recognize the profound responsibility that comes with shaping tools, environments, and systems that influence humanity's future. Design should enable the full development of human potential while fostering responsibility toward our shared world. - Virtues
Virtues—qualities like courage, compassion, and fairness—are cultivated through practice and self-discipline. Just as one trains for a marathon, designers must nurture these traits to create work that promotes collective and individual greatness. - Emotional Intelligence
Emotional intelligence, the ability to recognize, understand, and regulate emotions, is crucial for meaningful design. It fosters empathy, self-awareness, and social harmony, empowering individuals to navigate relationships and communities with greater ease. - Positive Habits
Positive habits, characterized by consistency and purpose, create a foundation for both immediate satisfaction and long-term meaning. Design can encourage such behaviors, contributing to a more fulfilling and sustainable way of life.
Principles of Positive Design
Positive design seeks to empower users, offering them the space and tools to co-create meaningful experiences. It fosters relationships grounded in care and mutual respect, emphasizing the importance of community and shared purpose.
As an educator, I advocate incorporating emotional intelligence, ethics, virtues, and positive habits into design curricula. This approach not only equips students with technical skills but also nurtures their ability to relate deeply to themselves, others, and the world around them. In an era of rapid technological advancement, these timeless principles are more essential than ever.
Designers must embrace positive design to promote sustainability and well-being. By prioritizing eco-friendly practices, ergonomic solutions, and emotional resonance, we can create products that uplift individuals and contribute to a healthier planet. Positive design offers a pathway to integrate human well-being into economic systems, making it a measurable and actionable priority.
Beyond a Binary Approach
Positive design does not seek to eliminate negative design but rather to complement it. Complexity, with its inherent unpredictability, drives innovation and discovery. By navigating the interplay between positive and negative design, we can uncover new opportunities for growth and transformation. Positive design is not a replacement for conventional approaches; it is a lens through which we can enhance our understanding of human potential.
Ultimately, positive design strives to help individuals connect with their inner world, fostering self-dignity and well-being. In doing so, it contributes to the creation of a more compassionate, sustainable, and fulfilling society—one where design serves as a catalyst for both personal and collective evolution.
Bibilography
Bruno Latour
Abraham Maslow (Hierarchy of Needs)
Daniel Goleman: Emotional Intelligence
Fiona Raby and Anthony Dunne (Speculative and Critical Design)
Abraham Maslow (Hierarchy of Needs)
Martin Seligman (Positive Psychology)
Jean Baudrillard (Simulacra and Simulation)
more...
Abraham Maslow (Hierarchy of Needs)
Daniel Goleman: Emotional Intelligence
Fiona Raby and Anthony Dunne (Speculative and Critical Design)
Abraham Maslow (Hierarchy of Needs)
Martin Seligman (Positive Psychology)
Jean Baudrillard (Simulacra and Simulation)
more...