Fear and discomfort are not design flaws, but they’re important part of the design process to make products safer for all. When something feels too hot, too sharp, or unstable, our bodies instinctively pull away. Designers can use this deep-rooted instinct to make objects safer, without needing to add labels or instructions. In fact good design communicates through touch, texture, and form.
Discomfort can guide us. A rough edge, a slippery surface, or an awkward grip might feel “wrong” to hold, but this is the point. These physical signals are powerful because we respond to them instantly, often without thinking. When discomfort is used carefully, it becomes a silent safety feature, helping us avoid harm through our senses. These kinds of details lower the learning barrier, making the design feel simple and honest in its form. They allow the user to approach the object intuitively, and even adapt it to their own way of using it. This kind of design doesn’t impose strict rules, it invites a natural, personal relationship.
Imagine a kitchen knife. You don’t need a warning to know which part not to touch. The handle is rounded, textured, often made to fit comfortably in the hand. The blade, by contrast, is cold, smooth, and thin. Even if you can't see, you could tell where to hold it. The object speaks through material and shape. That’s tactile design at its best: your hands learn the rules just by holding the object.
Another example is the cast iron skillet. Some have bare metal handles that become dangerously hot. Instead of adding a label, many designs subtly change the shape of the handle or leave a hole at the end, implicitly becoming small signs that say: “Use with caution.” A user learns this not from reading, but from interacting with the object, sometimes even feeling a bit of discomfort as a reminder.
This approach connects to ideas by designer Christopher Alexander, who believed that design is a process of problem-solving. In The Synthesis of Form, he explains that a successful object fits its context (its physical, social, and emotional environment) like a glove. When something feels off or unsafe, he calls it a “misfit.” A well-designed object removes these misfits until it feels natural and trustworthy.
Alexander also talks about breaking down complex problems into smaller parts. When designing for safety, that might mean looking at how people grip, lift, or interact with an object, what they touch first, what they avoid, where discomfort might help. The design process of creating a product does not come from aesthetic intent, but from an understanding how people feel, and how they move.
In the end, design isn't just about making things look good. It’s about creating objects that teach us how to use them, often without saying a word. A smart design uses our instincts, like our sense of touch, balance, and comfort, to guide us. Danger doesn’t have to be hidden or erased, but it just needs to be felt, for everyone’s safety.
