Intellection gives us supraformal absolute truth (of Beriah) toward/from the Absolute (of Atzilut) to which objectivity-forming subjects (Yetzirah) and objective truths (Assiyah) can be more or less faithful.
Of course, subjects can also be more or less faithful to material reality, and this determines their scope and degree of practical effectiveness.
The modern era has maximized the scope and degree of practical effectiveness in material reality. Its scope is maximized to total universality, and its degree of effectiveness is maximized to total control. It has traded off all considerations of intellection, to such a degree that few are aware of intellection as a possibility of knowing.
Even fewer actualize their intellective mode of knowing.
Fewer still coordinate intellective and rational knowing.
Fewest of all coordinate intellective, rational and practical knowing.
Whyness, Whatness and Howness.
Intuiting-what knows what of is, knows what of can, knows what of ought.
Intuiting-how does how of can, does how of ought, does how of is.
Intuiting-why cares why of ought, cares why of is, cares why of can.
Every explicit understanding is rooted in tacit intuitions.
Intuiting-what grounds fact, method and ideal, and without it, there is perplexity.
Intuiting-how grounds ability, grace and technique, and without it, there is faltering.
Intuiting-why grounds value, taste and purpose, and without it, there is indifference.
Every vital culture must converge Whyness, Whatness and Howness in its collective being. If it fails to do so, each member of its culture will suffer confused perplexity, ineffective faltering or depressed indifference. Or the culture will fragment into factions who maximize one or two and sacrifice the third.
Design at its best is a method for converging Whyness, Whatness and Howness.
Unlike many professions it is not a collection of techniques (What-How) methodically deployed to achieve defined goals. Design discovers its goals as it works, and its most important goals are given to intellection as the Why of the work.
Christopher Costes is right: Design is the heir of magic.