The purpose of this study is two-fold, to clarify the term "Good Design" by drawing a consensus using a modified Delphi technique in a survey of interior design professionals and secondly, to propose a synthesized analysis of the term to the industry by delivering it to design professionals in an established publication. The initial contact of the sample was initiated through a postcard invitation notifying each recipient that an invitation to participate in this study was to be delivered through U.S. Postal Service. One week later, questionnaire packets were sent to each subject through the U.S. Postal Service. The package included the following: cover letter/letter of intent, informational article, confidentiality statement, and questionnaire. In the second round, each group had seven days from the estimated delivery date to respond to the questionnaire. After each deadline, a follow-up telephone call was made in order to confirm receipt of the initial document. Delphi panelists were asked to respond to an open-ended question to identify a core term. The population for this study was consistent of subject matter experts from Interior Design Magazines Hall of Fame members for 2000 and Architectural Digest Magazine Legends members for 2000. Upon completion of the questionnaire, the information provided was tabulated and sorted according to common responses. A letter of appreciation was sent to all respondents that participated. The questionnaire resulted a 41% response rate, which signified substantial information to draw conclusions from the survey. The analysis revealed a wide spectrum of opinions through published views from the literature, opinions from the questionnaire respondents, and interviews of designers. Based on the information retrieved from these areas, there is a simple, straightforward definition to the question, what is "Good Design"? "Good Design" affects the quality of life that each individual has emotionally. It is the emotional connection that one might have to a product or space. It is determined that an individual must have a phenomenological experience that strikes a chord from within. In order to have a personal connection to a product or space, the experience may include or be texture, function, style, movement, color, light, pattern, form, proportion, rhythm, unity, harmony, innovative, enhancing, aesthetics, understandable, unobtrusive, honest, sustainable, minimal, enduring, consistent, accomplishing, faith, and appropriateness.