The term “design” is derived from the Italian disegno, meaning, “a drawing”. Throughout the 20th century, however, it became increasingly identified with the design of products for industry and mass production, evolving into an essential part of the process of making, marketing and selling commercial goods. By the late 20th century, these goods had proliferated to such a degree that they saturated every aspect of human existence – on our bodies, in our homes and work places, in our modes of transport, and throughout our every environment. As a result, over the last 10 –15 years, the level of sophistication among design connoisseurs has greatly increased, leading to a greater appreciation for “high design”, or designed objects that, like works of art, embody excellence, expression, discernment, and rarity. In recent years, the term “design” has come to stand for “high design”, and is now regarded as a new category of art with an important collector market. This is Design Miami/’s approach to design.

Rarity is a consequence of time and mode of production. If an object is handmade, then, of course, it is a one-of-a-kind, unique. Furniture since the 19th century, however, has become a factory-made commodity produced in very large quantities, each identical to the rest. The upshot is that the average cost for the average piece of furniture is relatively less than furniture produced prior to the industrial revolution. The downside, of course, is that a certain degree of monotony arises within our environments.

Those who wish to distinguish themselves and to cultivate a refined sense of taste will award a higher premium to objects that stand outside the norm. This is accomplished by seeking furniture that either is old enough that few duplicates exist, or that is new but produced in limited quantities.

In addition, the connoisseur may look for unusual, artistic details, which may be found in a piece of furniture’s form, color, medium, function or decoration.

Functionality is the most obvious factor differentiating works of design from works of art; however, this factor is, in and of itself, difficult to define, vague and shifting. In the end, objects are defined according to the maker’s intention and self-identification.

For instance, Donald Judd, known to most of the world as a famous “artist” – indeed, he saw himself as such – had a huge impact on contemporary art in the 1960’s with his minimalist “Specific Objects,” which consisted of simple geometric forms such as cubes of metal and wood. Judd’s artwork had no “function” beyond human contemplation. Yet Judd also made furniture closely resembling his works of art but definitively intended to be used daily as tools for living. Even so, in March 2006, one of Judd’s simple wood tables sold at Phillips for US$216,000, which is as much or more than many of his works of art.

In contrast, Ron Arad is known exclusively for his design work. Combining playful forms and experiments with advanced technologies, Arad has emerged as one of the most influential designers of our time. While chairs produced by Arad are, strictly speaking, “functional,” the best of his work is celebrated for qualities more closely associated with art. His 2003 D Sofa, made from mirror-polished stainless steel, embodies a challenge to conventionality, an expertise in his medium and an exquisite understanding of sculptural form and beauty. This object sells for US$400,000 and its collectors appreciate it as much more than an object for sitting.

At present, works of design (i.e. high design) are valued more than ever. Coincidentally the definition of design is blurred perhaps more than ever. For connoisseurs and collectors, delineating a strict definition is immaterial.

Many rising-star young designers are looking for ways to reinterpret and reinvent existing material – cast off consumer goods, flea-market furniture, even trash – by utilizing it in new designs. This trend is exemplified in the work of Stuart Haygarth, Peter Marigold, Studio Libertiny, Piet Hein Eek, Karen Ryan and Martino Gamper.

There is also an increasing interest in craft – design borne of a more traditional handmade processes (woodwork, ceramic, glass). This is reflected in the markets for both 20th-century masters and contemporary practitioners, such as George Nakashima, Arthur Carpenter, Hella Jongerius and Studio Job.

At the same time, there is increasing interest around producing and procuring design objects with limited functionality. This is typically work created in such a unique or special way that the story of its creation lives in the finished object. The boundaries between conceptual art, architecture and design remain very blurry – a trend that looks to continue for sometime. Examples of this trend can be seen in the work of Alessandro Mendini, Tokujin Yoshioka and Maarten Baas.

In terms of market and media attention in the field of “contemporary” design (living designers working between the 1980’s to present), the top designers are the following: Marc Newson, Zaha Hadid, Ron Arad, Ronan & Erwan Bouroullec, Fernando & Humberto Campana, Ross Lovegrove, Martin Baas, Tom Dixon, Mattia Bonetti, Gaetano Pesce, Shira Kuramata, Tokujin Yoshioka, Tord Bootje and Hella Jongerius.

Ones to watch in the contemporary market: Studio Job, Aric Levy, Stuart Haygarth, Joris Laarman and Julia Lohmann.

In terms of market and media attention in the field of “historical” design (circa 1900’s – 1979), the top designers are the following: Jean Prouvé, Jean Royère, Gio Ponti, Carlo Mollino, Josef Hoffman, Carlo Bugatti, Ico Parisi, George Nakashima, Charlotte Perriand, Serge Mouille, Alexandre Noll, Paul Evans, Angelo Mangiarotti, Paul Kjaerholm, Pierre Paulin, and Ettore Sottsass.

Rising historical market: 1970’s California design-craft; turn-of-the century Arts + crafts (Preto-Modernism).