Seen historically, industrial design is a relatively young term. However, products have not only been produced in series since the Industrial Revolution. In the course of industrialisation, design defined itself as a service of economics and society and was wrongly reduced to an instrument of wealth creation. However, product design is largely independent of economic interests, moreover it can be seen under artistic and creative, but also social and eceonomic aspects. With the change from an industrial to an information society, industrial design finds itself in a radical change. The general theses of good form have become old, the professional image of an industrial designer is emancipating itself from industry and mass production, and the boundaries between art and design are more open than ever. The globalisation of information and aesthetics via new media but also the shift of production sites to low-income countries is forcing designers – above and beyond the pure design of a product – to think in complex contexts and to act not only as a problem-solver but also to create identity independently. Irrespective of the continuous discussion between mass-produced and unique piece, between functionalism and formalism, design is continuously and inseparably linked to human history. However, for the first time since the industrial age, design is about to move away from the doctrine of the purely facutal and not place itself at the service of all and sundry. . . A point of contact between Art and Design.