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DESIGN FOR HACKERS
10
GIVEN THAT YOU’RE reading this book, you probably don’t need much
convincing that design is, in fact, important. Good design has clearly been
fundamental to the success of many of the world’s largest companies, and
interest in and awareness of design has exploded during the past couple decades.
But exactly what kind of impact can design have? More important, what really
de nes the bounds of design?
Skillful use of good design can create experiences that are emotionally moving.
At the same time, good design – through improved communication and clarity
– can make things easier to use.  e characteristics of good design can bring
increased credibility to your company and ultimately in uence the decisions
of your customers. Skillful use of good design can a ect emotions, build
credibility, and earn trust. Finally, good design can actually make things easier
to use. But to really achieve these results, you have to understand design
holistically.
I witnessed  rsthand the power of design in one of the world’s oldest
functioning buildings. While I was studying the origins of modern typography
in Rome, my studio was just a few blocks from the Pantheon. I spent hours
sitting inside the building and people-watching. I’m not normally entertained
by watching people, but inside the Pantheon, watching people is a di erent
experience than it is elsewhere. Why? Because people-watching in the Pantheon
gives you the opportunity to see the reactions of people who are walking into
the building for the very  rst time.
 e reaction of a person walking into the Pantheon for the  rst time – though
di erent for everyone – follows a predictable pattern: He walks through the
doors, in a hurry, guidebook in hand and comfortable sneakers on his feet.
 en, once he looks up, everything about his demeanor changes. He begins
walking in slow motion. His head falls back limply on his neck, as if he were a
child seeing  reworks for the  rst time. His jaw drops, and at some point, a
“wow” and a sigh of amazement manage to escape his mouth. He may lift a
camera to his eyes – in an attempt so feeble as to be entertaining – hoping that
he may later relive the experience at will.
 is is why I loved to people-watch in the Pantheon. I had experienced what
they were going through myself, and – although the Pantheon amazes me to
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