Over the years, there has been a significant shift when it comes to design, and a craft once dominated by aesthetics and style has now become increasingly driven by research with a focus on problem solving. Here, it is essential to remember that this is not a new concept – the evolution of design has long highlighted how research-driven creativity meets practical needs. The foundations in design research emerged as early as the Renaissance. Leonardo da Vinci used research to inform his designs and we can see the details of his observations reflected in his drawings of the human anatomy – for example, The Vitruvian Man – as well as his mechanical systems.

The Bauhaus Movement (1919-1933) integrated art, craft and technology and focused on simplicity and functionality – form follows function. The most groundbreaking designs were produced during the Industrial Revolution (1760-1840). The industrial designer Henry Dreyfuss studied the anatomy of an average man and woman and through research and an understanding of human needs, designed products that took into account the requirements of the end user. Later, Arthur C. Nielsen Sr, who founded ACNielsen in the early twenties, developed tools aimed at providing clients with objective information about the impact of marketing. Technological advancements, particularly in computation and human-computer interaction, illustrate how the digital world has evolved, so that today devices that used to be at the scale of a room are now the size of our palms, working through the touch of our fingers, allowing us to navigate and communicate seamlessly.

Between the nineties and early 2000s, Pakistan’s design education was mostly instinctive. The approaches were not only conceptual; they were also aesthetically focused. In design education, students looked more at the application and understanding of design, along with its elements and principles. They looked at concepts like ‘form beyond function’ with projects that leaned more towards imagination, exploring the possibilities of what could be and breaking away from the constraints of reality.

Today’s aspiring designers are encouraged by educational institutions to explore their environments, societies and cultures and use design as a tool to approach everyday problems. These design thinking processes – researching, using tools to empathise and helping gain a deeper understanding of both users and their challenges to ideate solutions – have become integral to their training. For example, the Indus Valley School of Art and Architecture prepares students to create visually stunning work rooted in user needs and contextual understanding. Designers are not only creators of visually appealing work – they go on to become researchers, strategists and problem solvers, using their craft to address the needs of their audiences. This transformation has been particularly evident in multidisciplinary and even interdisciplinary practices, where design intersects with other disciplines.

In Pakistan, graphic designers are finding new ways to integrate research into their work, with an understanding and a recognition that it not only enhances their design but also improves the impact of their creative and artistic practice in terms of delivering more meaningful, user-centred solutions. Contextual inquiry is a critical component in today’s design education and practice. This involves gaining an in-depth understanding of the economic, local-to-global, social, cultural, political, identity intersections and historical contexts – and which in turn directs and shapes the content of the design itself.

This holistic approach gives designers the means to craft solutions that are not only functional but culturally and socially relevant. While the focus on research has undoubtedly shaped contemporary design, aesthetics and style remain integral to the process.

When we speak of aesthetics, we look at how a design looks and feels, while style refers to how it is constructed, often inspired by design movements or a designer’s unique approach. However, we must keep in mind that without a solid foundation of research, even the most visually striking design can lack the depth required to make a meaningful impact. It is research that provides the framework that informs aesthetic choice and ensures that a design is not only beautiful but also purposeful – a design that is rooted in practicality.

As someone who was a design student in Pakistan and is now an academic, I ask myself, how did this shift occur? Was it the rise of digital technology? The interconnectedness through social media? In my opinion, it is a combination of everything. It is a function of where the abundance of information is just a click of a button away, making the shift from an intuitive approach to a research-driven one a natural progression.

This evolution underscores the power of research-driven design, where innovation meets real-world needs, and in the process, empowers communities around the world. This need for a better world has become a compelling purpose for designers, driving a shift from intuitive, aesthetic-driven practices to more intentional, contextually aware approaches. Today’s designers are increasingly conscious of the consequences of their work and the impact it creates politically, socially and culturally. In this context, social media platforms have played a significant role in allowing exchanges across borders of ideas and critiques that foster a broader understanding of the role design plays in addressing societal challenges, such as environmental degradation and social injustice.

As a result, the design discipline has expanded its scope beyond creating objects or spaces to activism and design for change that contributes to solutions that add tangible value to communities.

This paradigm shift has opened doors to more collaborative opportunities. We now see design practitioners engage with activists, local government bodies, stakeholders and professionals from other disciplines, thereby encouraging a holistic and inclusive approach. Designers are no longer isolated creators but active collaborators, where partnerships and alliances work towards enhancing the impact of design interventions as well as nurturing a culture of collective action and shared responsibility in making a difference.

This shift towards a research-centred approach has redefined the purpose of design so that today’s designer is both a creator and a researcher; someone who understands that design is more than making things look good but has the potential to make a difference.

Kiran Ahmad is a multidisciplinary graphic designer and teaches at IVS. info@kiranahmad.com

The painting referenced in the illustration is Bar Boy by Salman Toor.