Design is often associated with the appearance of an object, but in reality it consists of much more than just styling. Behind every design are multiple layers. Sometimes a design begins with a practical question, sometimes with a material, a technique, or a visual idea. But whatever starting point a designer chooses, the same core elements can be found in almost every design object. 

Good design often solves a problem, but it also adds character, beauty and meaning. It can improve a practical issue, make a space more pleasant, or surprise the user with a special material or a new form. The interplay between practical function and aesthetic value is what makes design so interesting. 

For many designs, everything starts with function. A design often begins with a question, a need or a problem. Something can be more convenient, smarter, more comfortable, more efficient or more pleasant to use. From that thought, a designer starts looking for a solution. 

This can be very concrete. Perhaps a lamp is not flexible enough, leading to the idea for an adjustable lamp that directs light more effectively. Perhaps a chair is too hard, too heavy or impractical, and a designer starts looking for a lighter or more comfortable alternative. Storage systems, tables, cabinets and accessories often also begin with the question of how an object can better suit everyday use. 

It is important here to distinguish between an object with a function and a design object. Not every chair, lamp or cabinet is automatically design simply because it has a practical use. What truly makes something design is the conscious search for improvement, innovation or a smarter solution. A design object adds something compared to what already exists. It is more comfortable, uses materials more intelligently, solves a problem more elegantly, or combines function and form in a new way. 

Function is therefore often the starting point of design, because the design begins with the question: what should this object do, and how can it do that better?

While function is often the starting point, form determines how an object presents itself to us. Form is what we first notice: the lines, proportions, curves, angles, height, width and overall appearance of an object. But form does more than simply make something look good. It also helps us understand what an object is and how we use it. 

For example, we can immediately see the difference between a dining chair and a lounge chair. A dining chair often looks more upright and active, while a lounge chair feels lower, softer or more relaxed. Without explanation, we already understand something about its function through its form. That makes form an essential part of design. 

At the same time, form also plays a major role in how an object affects us emotionally. Sometimes we are drawn to an object because of its simplicity, and other times because of a striking silhouette or a special tension between clean lines and organic shapes. A good design can bring calm to an interior, but it can also add character. Form therefore influences not only use, but also atmosphere and experience. 

For many designers, form is also an important starting point in the design process. An idea can begin with a line, a formula, a silhouette or a visual image that the designer wants to explore further. Inspiration can come from all directions. Nature is a well-known source: leaves, branches, waves, flowers, stones or the structure of a shell can all inspire new forms. This is how lamps with leaf-like shades, tables with organic contours or benches inspired by tree trunks can come to life. 

The spirit of the times also influences form. In periods of technological progress or social change, new design styles often emerge. A good example is the Space Age period, in which designers were inspired by space travel, technology and the future. This led to rounded, futuristic shapes, glossy materials and interiors that looked as if they were ready for life on the moon. 

Form is therefore much more than an aesthetic layer. It determines how an object looks, how we understand it, how it feels in a space and sometimes even where the design idea begins. 

Material is one of the most tangible and defining parts of design. It determines how an object looks, feels, ages and is used. A glass lamp feels different from a paper lamp, a chair made of solid wood evokes something different from a chair made of molded plastic, and a natural stone tabletop has a completely different appearance from a plywood one. 

For many designers, material is not just a means, but a source of inspiration. A design can begin with the question: what can I make with this material? How far can I bend it, stack it, shape it, cast it, mill it or combine it? Some designers are constantly exploring the limits of materials and searching for new applications, textures or production methods. 

This makes material research an important part of design. Designers experiment with traditional materials such as wood, ceramic, steel or textiles, but also with new composites, recycled raw materials, bio-based materials or innovative plastics. Sometimes a design even revolves entirely around that experiment: not the final object itself, but the discovery of a new way to use a material. 

In design history, you can also see how materials can define an era. In the 1960s and 1970s, for example, designers began experimenting extensively with plastic. Plastic was relatively new, lightweight, affordable and easy to mold into many forms. This made it possible to create furniture and objects that had previously been almost impossible to produce. Flowing shapes, stackable chairs, futuristic lamps and colourful interior objects all became possible. The material opened up new aesthetics as well as new production methods. 

Material also says something about the atmosphere and quality of an object. It influences whether a design feels warm, cool, luxurious, playful, robust or refined. That is exactly why material choice in design is never random. It is a conscious decision that affects function, appearance, durability and production. 

Anyone who looks closely at design will see that the difference often lies in the details. A design object is not only recognisable because of the big idea, but also because of the care with which it has been worked out. Behind an apparently simple design, there is often a long process of testing, adjusting, refining and reconsidering. 

In the development of a design object, multiple prototypes are often made. Proportions are adjusted, connections are improved, materials are tested and small details are examined over and over until everything feels right. How thick should a tabletop be in order to look light while remaining sturdy? How should a drawer align beautifully with the cabinet? How should a line run from armrest to backrest without feeling forced? Questions like these determine the quality of a design. 

Finishing plays a major role in this. A good design object feels considered, even in the smallest details. Think of a visible screw that has either been intentionally hidden beautifully or deliberately left visible as part of the design. Think of the underside of a chair, the finish of a weld, the texture of a coating, or the small caps under chair legs that are both functional and carefully chosen. 

That attention to detail matters because it shows how much care has gone into a design. It not only makes an object more beautiful, but often also more pleasant to use, more durable and more balanced. It is precisely this combination of design quality and finishing that makes an object feel complete. And often, that is the moment when you realise you are not looking at just any product, but at a true design object. 

Production may not be the first thing people think of when it comes to design, but it plays a huge role. A design does not exist only as an idea on paper. It must eventually be made. The way something is produced has a major impact on its form, material, price, scale and even the character of the object. 

Many innovations in design arise from new production methods. As soon as something new becomes technically possible, new forms and applications also emerge. A well-known example is bent wood, which enabled designers to create lighter and more elegant chairs. Injection moulding, laser cutting, CNC milling and modular production have also had a major impact on the world of design. 

At the same time, production is always a balance between freedom and limitation. A designer may have a beautiful idea, but also has to consider whether it is feasible. Can a material handle this shape? How many parts are needed? How will it be assembled? Is it suitable for mass production or rather for a small batch? These kinds of questions are not only technical, but also creative. They help shape the design itself. 

The rise of the 3D printer is a good example of this. In recent decades, 3D printing has opened up new possibilities for designers. It makes it easier to test prototypes, create complex forms and produce in small batches without large moulds or machines. This allows designers to experiment more quickly and create objects and lamps that would be much more difficult to make using traditional production methods. 

Production is therefore not just the final step in design, but often an essential part of the design itself. It determines how an idea becomes reality and continually opens the door to new innovations. 

A logical question is: what is the ultimate purpose of design? Why do we keep designing chairs, lamps, cabinets, objects and interiors? 

At its core, the purpose of design is to make our daily lives better, smarter, more beautiful or more interesting. Sometimes this happens in a very practical way: a chair becomes more comfortable, a cabinet stores things more efficiently, a lamp spreads light more pleasantly, or a table fits better with the way we live and work. In that sense, design helps solve a problem or improve a user experience. 

But design does more than solve practical problems. It also helps us look differently at objects, spaces and materials. Design explores how something can be made, how form influences behaviour, how materials behave and how an object can evoke a certain atmosphere or emotion. In that sense, design is also a way of thinking, researching and experimenting. 

Precisely because designers constantly ask questions and explore new possibilities, design drives innovation. This can be something small, such as a smarter construction or better use of materials, but also something large, such as new ways of living, circular production methods or entirely new ways of making. Design evolves along with the way we live, inhabit spaces and produce things, while also helping to shape that evolution. 

So the goal of design is not only to create beautiful objects. It is to make the world around us more thoughtful, more functional, more beautiful and sometimes even more surprising. 

Because the word design is often used as a catch-all term for “beautiful things,” it is also useful to consider what design is not. 

Design is not simply decoration. Of course, a design object can be beautiful and add atmosphere to a space, but that is not the full definition. A good design is not just ornament or styling; it is an object in which thought has been given to use, form, material, production and finishing. 

Design is also not the same as luxury. An object does not have to be expensive, exclusive or rare in order to be good design. In fact, many famous designs were created precisely out of the desire to make an object more accessible, efficient or intelligent. Good design lies not in price or status, but in the quality of the idea and its execution. 

Design is also not the same as art, although those worlds sometimes overlap. Art does not necessarily have to be functional and can revolve purely around expression, emotion or an idea. Design usually has some relationship to use, application or production. At the same time, the boundaries can be intentionally blurred, especially among contemporary designers who experiment with collectible objects, sculptural furniture or unique works that exist on the border between design and art. 

So what is design not? It is not just a beautiful object. Not just a trend item. Not just something expensive. Not just something practical. Design always goes deeper than that. 

Behind design are designers. They are the people who translate ideas into objects, furniture, lighting, accessories or complete interiors. They combine function and form, research materials, test production methods and look for ways to make an object both useful and distinctive. 

Every designer works differently and has their own motivation, vision and process. Some designers are strongly focused on function. They start with a problem and search for a solution that improves everyday life. Others are more visual or conceptual and use design to convey atmosphere, emotion or a story. Others again are mainly fascinated by materials and techniques and begin with an experiment involving wood, metal, textiles, glass, ceramic or new bio-based materials. 

The way they work also differs. Some designers work entirely under their own name and develop objects from their own fascination. They often design and produce in small batches or collaborate with local makers and workshops. There are also designers who work on commission for a brand or manufacturer. In that case, an object often comes out of a collaboration, in which the vision of the designer comes together with the knowledge, technique and production capacity of a brand. 

That is exactly what makes the world of design so interesting. Behind every object is a maker with their own way of seeing. And the better you learn to understand a design, the more you often begin to recognise the designer behind it. 

At Davinis, we believe that design is more than just a beautiful object in the home. We see design as a combination of idea, craftsmanship, experimentation, form and use. That is exactly why we focus on design by emerging designers: makers who explore new forms, experiment with materials, come up with surprising solutions and dare to create their own signature style. 

We believe it is important that new designs are given a platform and find their way to people who are looking for something special. Not a standard product, but an object with a story, a clear vision and attention to detail. Whether it is a striking lamp, a special candle holder or a refined object, we love designs that have character and add something both to an interior and to the conversation about design. 

Are you looking for a unique design object and curious about the work of new designers? Then take a look at our collection and discover the exceptional designs.