Product Design with Adam Smith
Can Smithian insights help you build a better bike helmet? Can they help you buy a better bike helmet? David Chávez Salazar suggests you check in with your impartial spectator at the drawing board and at the bike shop.
Adam Smith probably isn’t the first name that comes to mind when you hear the words "Product Design" However, the ideas of the Father of Economics can influence the way we create and consume products.
Design Philosopher Glenn Parsons defines design as "The intentional solution to a problem through the development of a plan that leads to the creation of a new thing (an artifact)." No problem, no design. But contrary to common belief, design problems are not about needs but rather about desires. Consider candles: for centuries, they mostly sufficed for lighting. However, as Smith points out, humans are not satisfied with sufficiency—they seek improvement. This desire led to the electric light bulb.
Furthermore, Parsons’ definition states that design involves a "plan." This means that design is primarily an intellectual activity, where functional and formal characteristics are defined before an object takes physical form. There are many dimensions of design: technical, aesthetic, economic, as well as semantic and philosophical dimensions.
A good design excels in all these dimensions. Consider an electronic cigarette. Technically, it delivers nicotine without tobacco combustion. Aesthetically, it comes in various formats, colors, and textures. Economically, it thrives due to mass production and demand. Semantically, it conveys values such as sophistication. Philosophically, it has altered consumption habits, creating new consumption cultures (vaping).
But wait! Doesn’t the electronic cigarette cause lung injuries and cardiovascular diseases? So, is it really a good design? To answer this, we must consider a dimension we have not yet mentioned: ethics.
Design ethics examines whether products prevent undesirable ends, such as addiction or health risks. From this perspective, a "good design" must be ethical—it should not only meet functionality, aesthetics, and feasibility but also avoid negative consequences.
That said, what some consider "bad," others may not. I might find smoking immoral, while others do not. "We all have to die of something," they might say. This leads us to a deeper question: On what basis do we make moral judgments?
This very question was asked by Adam Smith in The Theory of Moral Sentiments. While he is widely regarded as the first economist, he and many of his contemporaries thought of him primarily as a moral philosopher. Smith encourages the liberal use of sympathy when making moral judgments.
Sympathy arises when there is an emotional correspondence between the person who acted and the person who is judging. . Since we cannot directly experience others’ emotions, we use imagination to put ourselves in their place. Based on this mental representation, we judge how we would have reacted in a similar situation. This concept closely relates to what we now call empathy.
However, our judgments can be biased. For instance, someone might sympathize with a thief if they believe his actions have a "noble" motivation. To avoid this distortion, Smith introduces the "impartial spectator"—a judge that helps us evaluate actions as a neutral observer would.
The impartial spectator not only allows us to judge more accurately but also plays a key role in self-approval. We feel satisfied when our actions align with the spectator’s perspective. Thus, virtue arises when we harmonize our behavior with the impartial spectator’s judgment.
How could thinking about Adam Smith’s impartial spectator help us design something new? Consider Elizabeth, a cyclist seeking an alternative to the traditional helmet. She desires something that provides protection but doesn’t feel too tight.
A good designer must use imagination to put themselves in Elizabeth’s position. The designer should value Elizabeth’s perspective, address her concerns, and also minimize negative effects.
If this new product reaches the market, Elizabeth must now decide whether to approve it or not. She may consult her own impartial spectators as well. The act of consumption is, at its core, a moral judgment.
Adam Smith’s moral philosophy provides a powerful framework for considering product design. His concept of the impartial spectator reminds us that good design is not just about functionality, aesthetics, or profitability but also about its ethical implications. In a world where products shape our behaviors and values, Smith’s insights urge us to create and consume with greater awareness, ensuring that design serves the human being integrally.
Want to Read More?
Steven Horwitz's Spontaneous Order in Adam Smith
Garret Edwards' Competition as a Discovery Procedure: Smith, Hayek and Leoni
Dylan DelliSanti's Moral Innovation in Adam Smith
Caren Oberg's Who are you wearing?” Fashion production in the age of Adam Smith
Design Philosopher Glenn Parsons defines design as "The intentional solution to a problem through the development of a plan that leads to the creation of a new thing (an artifact)." No problem, no design. But contrary to common belief, design problems are not about needs but rather about desires. Consider candles: for centuries, they mostly sufficed for lighting. However, as Smith points out, humans are not satisfied with sufficiency—they seek improvement. This desire led to the electric light bulb.
Furthermore, Parsons’ definition states that design involves a "plan." This means that design is primarily an intellectual activity, where functional and formal characteristics are defined before an object takes physical form. There are many dimensions of design: technical, aesthetic, economic, as well as semantic and philosophical dimensions.
A good design excels in all these dimensions. Consider an electronic cigarette. Technically, it delivers nicotine without tobacco combustion. Aesthetically, it comes in various formats, colors, and textures. Economically, it thrives due to mass production and demand. Semantically, it conveys values such as sophistication. Philosophically, it has altered consumption habits, creating new consumption cultures (vaping).
But wait! Doesn’t the electronic cigarette cause lung injuries and cardiovascular diseases? So, is it really a good design? To answer this, we must consider a dimension we have not yet mentioned: ethics.
Design ethics examines whether products prevent undesirable ends, such as addiction or health risks. From this perspective, a "good design" must be ethical—it should not only meet functionality, aesthetics, and feasibility but also avoid negative consequences.
That said, what some consider "bad," others may not. I might find smoking immoral, while others do not. "We all have to die of something," they might say. This leads us to a deeper question: On what basis do we make moral judgments?
This very question was asked by Adam Smith in The Theory of Moral Sentiments. While he is widely regarded as the first economist, he and many of his contemporaries thought of him primarily as a moral philosopher. Smith encourages the liberal use of sympathy when making moral judgments.
Sympathy arises when there is an emotional correspondence between the person who acted and the person who is judging. . Since we cannot directly experience others’ emotions, we use imagination to put ourselves in their place. Based on this mental representation, we judge how we would have reacted in a similar situation. This concept closely relates to what we now call empathy.
However, our judgments can be biased. For instance, someone might sympathize with a thief if they believe his actions have a "noble" motivation. To avoid this distortion, Smith introduces the "impartial spectator"—a judge that helps us evaluate actions as a neutral observer would.
The impartial spectator not only allows us to judge more accurately but also plays a key role in self-approval. We feel satisfied when our actions align with the spectator’s perspective. Thus, virtue arises when we harmonize our behavior with the impartial spectator’s judgment.
How could thinking about Adam Smith’s impartial spectator help us design something new? Consider Elizabeth, a cyclist seeking an alternative to the traditional helmet. She desires something that provides protection but doesn’t feel too tight.
A good designer must use imagination to put themselves in Elizabeth’s position. The designer should value Elizabeth’s perspective, address her concerns, and also minimize negative effects.
If this new product reaches the market, Elizabeth must now decide whether to approve it or not. She may consult her own impartial spectators as well. The act of consumption is, at its core, a moral judgment.
Adam Smith’s moral philosophy provides a powerful framework for considering product design. His concept of the impartial spectator reminds us that good design is not just about functionality, aesthetics, or profitability but also about its ethical implications. In a world where products shape our behaviors and values, Smith’s insights urge us to create and consume with greater awareness, ensuring that design serves the human being integrally.
Want to Read More?
Steven Horwitz's Spontaneous Order in Adam Smith
Garret Edwards' Competition as a Discovery Procedure: Smith, Hayek and Leoni
Dylan DelliSanti's Moral Innovation in Adam Smith
Caren Oberg's Who are you wearing?” Fashion production in the age of Adam Smith