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Objects are neither formed in retort to pure functional requirement, nor do they appear in the designer’s mind from an inbuilt urge to create. They are the result of existing conceptual frameworks, whose structure are determined socially and have a social aim. Eventually, conceptual frameworks are supported by interests operating in the society which also controls the institutions.

In finalizing analysis, all the uses of a design are social, serves to create, to dissolve human dependencies. The functions in conceptual frameworks, interests, institutions and are not always readily detectable, neither is their long-term influence on human interaction. Whether by design or by accident, these works may be lost and can only be retrieved by history. Any view of the socially use in design should be based on the interactions with which over time connects, interests,  conceptual frameworks, institutional structures, design decisions, human relations and design products.

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Design cannot be explain by every history. For e.g. insular history, which is based on categories ignoring the originally found concepts interests, and institutions determining the design decisions, are limited. Architectural works were in the past seen as coming from a prehistoric anticipation of the current technology, the look for expansion and production arrangements to express the originality of construction technique and materials and the legitimacy in their use.

A different approach to history of design is the stylistic school. It takes the designed products as aesthetic creations to be seen and appreciated and not as answers to functionalist problems. Prior studies in this tradition endowed artistic creation with powers all its own.

To account for the variety among designed products, the amateurs in fine objects claimed that a style should be developed in cycles, which it blossoms and shrunken like a plant.

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