Britain's industrial design education

Why teach design: brain, heart, hand

-(UK) C· Buddha RuiLin

The international meeting of the two major issues: the design of producers, also is the designer's education and education of the consumer, it is the design education at least 154 years have been 英國(guó)dissertation網(wǎng)explored. Because as early as in the fall of 1937, the British government was established the first design school. Since then, put forward so two problems, one is "how to most effectively education good industrial designer", and the second is "how to the most effective education good consumers and let them know how to understand and appreciate the designer's work." And for the two questions have been controversial. Sometimes, producers would consider: if we can create the first-class design, the public nature will appreciate, and consumers can think so: "if a product is no market, why are education people to produce?" Because the meeting allowed to speak very short time, I may not have a period of 154 years, also or 154 minutes to detail, I almost only 154 seconds of time can use, the team I will from the design education three most important aspects of the manpower, combined with British universities in 18 or above design professional students of education, education on the British around design several key debate reviewed.

Brain education: brain function is engaged in the research. Design theory and design to reflect on it.

Of the hands of the education: the role of the hand is master technology skills, contact materials, and personally experience manufacture process.

The heart of education: the function of the heart is to play to the designer's individual spirit of creation, and know he will face of the social and cultural development trend.

The middle of the s, the British great art and design J· thinker; Ruth gold (Ruskin) had said so: the above three aspects of the all-round development is to build a perfect designer is indispensable. So, he thinks that the education of young designers should be through on the brain, heart, and of the hands of the comprehensive education.

Ruth gold had also wrote: design must be made from the ingenious mechanical, or human hands to complete. So far we haven't design, and will not design like any possible human fingers so clever machinery.

The best design comes from the heart, and all the emotions on this fusion is better than the brain and emotional union; And both were better than hand and emotion and the union. So make a whole person.

Ruth gold in the 1860 s write down above this passage. At that time the technology used by designers can still at an early stage of development, and the world within the scope of the first time the industrial revolution the social impact greatly shocked him, and his writing that s, psychology, physiology, anthropology and cultural theory discipline research will be launched, so he tried to will be human all aspects of life separated, and in fact, they are connected with each other, are inseparable. Controlled by hand to the brain, heart and brain and subject.#p#分頁標(biāo)題#e#

Therefore, considering the Ruth gold in the paragraph above written by a variety of subjective and objective restrictions, we should recognize that his opponent on the brain, the understanding of today is still in the Victorian era, is worthy of consideration, because he is the design of the British education history summary provides the basis, and more can make us further explains the theme of the meeting.

When the national design school then the royal college of art in 1837, 154 years ago in London is established, it mainly devotes to the education of the brain. This one design education test continued for nearly 1900 years, and become the most of the 20 th century "design method" the basis of the movement.

The early education thoughts of the basic point is: the design is a language, if you spend a few years time learn seriously and remember this language grammar rules, one day you will be able to use it. Therefore, all the students begin learn basic geometry, and then copy the book or the dictionary the design of various buildings. If they're lucky, they can continue to copy into glass case of some of the objects with plaster copied famous sculptures model, ceramic tile, metal bowl and so on. These items in the whole process of teaching plays a vital role, so the teachers collect many such items, finally packed with room, and had to build a special houses to pile up them, which is now the city of Victoria Albert museum. The sketch or portray movement of the body and the copy of the corresponding to each other is static object, so was banned, because they believe that the founder of a design school, this kind of painting activity can make students to be artists, and Victorian each design education personnel all know (or at least think know) : the art and the industrial design is entirely different subjects.

National design school point is: the teacher should give young people develop into industry, especially the textile industry, ceramics and the transport industry designers or decoration division. This is because the economy once development and science-induced optimistic attitude. Design education people believe, as long as the design school students learned to grammar, namely, learn how to apply them mind, they can enter industry, improve the appearance of the everyday products quality. The education system is the lack of "novelty", "self expression" and "creativity" concept, and it is to the praise highly of "system", "grammar rules", "method" and "type (or sample)" of the word. When school later moved to London south kensington, also is the seat of the now) this system will gradually be called "south kensington system". The Victorian government officials H· Cole is a model of the jazz maker, is he urges the as Britain every design school reference model, he is also the British railway gauge the establishment of the standardization of Great Britain in 1851 and the first products exhibition planners, all these is no coincidence, because design education also can expect in some criteria) in the 1870 s, the education system across oceans, was the introduction of Canada and the United States in Massachusetts.#p#分頁標(biāo)題#e#

We put the above this exquisite rules, composition and the traditional organization called "standardization" traditional, to acquire information technology guarantee a certain condition, it is still represents a kind of practical education method. For example: the s "system design method" movement is the basic similar assumptions, it tried to get the design thinking process is divided into clear, common "several steps", and put them through to the whole process of teaching. Young designers started from the abstract, through the middle of several steps to learn, can arrive in concrete.

Many "design research", it is more than the design methods adopted. When it comes to the appearance of the products, semiotics (the symbol language) as auxiliary tool, in involves visual when the choice, the application of computer "shape grammar" to help finish.

From the 1890 s, the British will someone starts against the education system above. They are a group of education workers and designers, trying to put the system to brain training transfer to an opponent's training up. They think: if "south kensington system aims to comprehensive education students, and in fact it can complete the task half words, so is understandable, because most of the teacher can only so; And it is deliberately so, that is doomed to failure. If we can not teach students the grammar of use, namely how to do it, we cannot teach grammar. To design, we must understand how it is generated. This, to a certain extent, is expounded in Ruth gold "complete human" concept must express things.

Therefore, in motion and British craft Morris (Morris) and Ruth gold under the influence of the theory and practice of design of appeared to attention, especially to the altar canister kind of containers, metal products, furniture and textile production technology practice attention. The various design schools are no longer as usual equipped with library bookshelf, drawing or collect the exhibits, acting with such as wheels, the lathe, the collection production process and looms thread-rolling technology.

On the other hand, once highly valued design and adornment rules are put aside, the design education organization principle is building theory and practice. In 1896, the famous British craft art designers w· G Ryan (Crane) served as the President of the royal college of art (the year by the national design school, the school was renamed now known). He thinks, since "the architecture is the mother of art," it will surely can stimulate the design inspiration. So the central London school of art, and the royal institute of design course are required to open all first-year students must learn architecture, architecture philosophy and construction drawing, but also learn about the basic course of calligraphy. And then they can from the following four professional choice, they are:

Mural (design school will "adornment" two characters from "mural" removed, it is before 25 years later things).#p#分頁標(biāo)題#e#

Carvings and modelling

building

Or design (process)

這一教育體系依然非常缺乏像“新穎性”和、自我表現(xiàn)力“這些觀念，而對(duì)“實(shí)踐”、“動(dòng)手即設(shè)計(jì)”、“工藝質(zhì)量”、“技巧水平”等則給予高度重視。英國(guó)第一位設(shè)計(jì)學(xué)教授，W·R·利撒貝（Lethaby）提議在每所設(shè)計(jì)院校的大門上都要以最精美的字體刻上如下一句話：“no art that is only one person deep can be very good art”（只有一個(gè)之深的藝術(shù)決非好藝術(shù)）。這是一種注重設(shè)計(jì)和動(dòng)手制作的傳統(tǒng)，要求設(shè)計(jì)工作必須以傳統(tǒng)為基礎(chǔ)。有幾次，利撒貝曾補(bǔ)充道，學(xué)生將能站在前代人的肩膀上（工作），但他們決不允許跳離前人的肩膀。這是對(duì)批量生產(chǎn)工業(yè)一貫的低質(zhì)量、以及它所賴以生存的思想基礎(chǔ)的挑戰(zhàn)，因?yàn)橹淮艘患漠a(chǎn)品明顯地要投入更多的精力，它注重的是重量，而不是數(shù)量。因此，如果學(xué)生花上3到4年時(shí)間，認(rèn)真地思考一下傳統(tǒng)，掌握一門技藝這是學(xué)徒制應(yīng)用于課堂的方式。他們有一天就可以改變視覺環(huán)境的質(zhì)量，不是通過模擬產(chǎn)業(yè)環(huán)境，而是確確實(shí)實(shí)地通過手工藝工場(chǎng)實(shí)踐。以上是英國(guó)從19世紀(jì)90年代至本世紀(jì)50年代以至于60年代設(shè)計(jì)教育的基礎(chǔ)。上世紀(jì)末，本世紀(jì)初，德國(guó)的一些作者在他們有關(guān)設(shè)計(jì)的著作中介紹了英國(guó)的設(shè)計(jì)教育思想，從而成為格羅佩斯（Gropins）在包豪斯學(xué)院所進(jìn)行的教學(xué)實(shí)驗(yàn)基礎(chǔ)。例如：克瑞恩對(duì)建筑和壁畫的重視以及利撒貝對(duì)基礎(chǔ)設(shè)計(jì)課程的設(shè)置思想都被引人包豪斯學(xué)院基礎(chǔ)課程的安排中。因此整個(gè)包豪斯的教學(xué)大綱融合了美術(shù)和工藝，我們稱之為“批判”傳統(tǒng)，因?yàn)樗乃枷牒诵囊庠趯?duì)工業(yè)設(shè)計(jì)和工業(yè)組織進(jìn)行評(píng)判。隨著當(dāng)今對(duì)環(huán)境的日益重視，以及對(duì)設(shè)計(jì)師社會(huì)責(zé)任感的要求提高，這種教育思想有回歸的趨勢(shì)。如今，設(shè)計(jì)課程中的手工藝制作練習(xí)一方面是為產(chǎn)業(yè)界制作模型，開展小規(guī)模的課題研究，或?qū)で笮碌牟牧虾铣煞绞?；另一方面，則像畫家或手工藝人一樣，應(yīng)用各種材料，制作只此一件的藝術(shù)或工藝精品，在因襲“邊制作邊設(shè)計(jì)”傳統(tǒng)思想的學(xué)校里，以上兩方面都是相當(dāng)重要的。

In the s, many people think: the "critical" traditional because inherited traditional process, emphasizes production practice, not to provide students with enough opportunity to express their own idea, and it can never touch the industrial design of the real problems facing substantial, quality and quantity problem, so then someone to the British government submitted a series of reports, proposals design education should not only involve brain, hands, and more about each education, it against craft art philosophy, because the latter too much emphasis on skills and training, and suppose we can take heart and hand apart. Therefore, it advocates that the education of the thinking and attention. Training is not enough, the architect also accept education. So far, painting, sculpture, art courses and the design of open courses, such as: graphic design, industrial design, and visual communication design was first also scheduled in the teaching outline, form the core of the course part. The education thought is the center point: art especially traditional an easel painting practice, can make the designer to draw nutrition, and encourage the designers draw and thinking or of with their work of evaluation. In addition, designers also study several important stage of the art history, it is design education a new development direction, it encourages "novelty", "self show" and "creativity". Artist and musician B· Enoch (Eno) think that the system is "to the unknown setting", the art school study we unknown world. No art technology can only create machine. If, say, the Victorian era, the students once "protected" from the temptation of fine arts; At the beginning of 20 centuries, the students are busy making only this one, for the family to enjoy art treasures; From the 60 s, they are encouraged, to explore new fields. So art and design education become personal explore new field of the process, start it can be in a certain range or within the boundaries, and later, even such a line also questioned the fine arts gradually away from the easels and modelling Taiwan; Craft class moved into the art museum; Design more and more attention to the image, pay attention to the appearance of the things expression way and products in specific culture and background of market performance. As for the "organization", "system" and "skill" and "skill", "quality" concept is outdated, no market.#p#分頁標(biāo)題#e#

At the same time, the design course more and more professional, and to the emerging designers draw close consultation industry. Because of course coverage is narrow, the teaching method is more flexible, from the classroom teaching to collective tutoring. This teaching system in the s in the royal college of art developed, and quickly swept over the whole British design education. We call it the "performance" tradition. Its central idea is: to improve the students' their own unique insights, and be good at realize personal opinion of courage. As designers role is more and more obvious, the social market value and the style of the common pursue psychology and modelling, this kind of traditional impact also is increasing, only recently reached the peak. Pay attention to the education it head-on, the other is for the attention of the individual creativity, 2 it is to today's culture and see the development of the art world attention.

I'm more agree with architect Gaudi (Gaudi) view, namely novel means to explore the cause of (things), so I want to reference design education of three traditional-standardization, criticism and expression, summarized the British design education are facing some of the key problem, by ", at the same time, I will also reference J· Ruth gold about "complete human" famous assertion:

First is the brain. Design education reason in research, as well as to the design practice of guiding significance on the widely has what function? In computer information times, law of course has certain directive significance, and serious criticism understanding is even more so. We must break the so-called "theory" and "practice", and the difference between a theory development under the guidance of practice and a practice under the guide of the theory. Now, the two aspects of the research are not enough. We must through the teaching research (systematic research, the purpose is to get one to communicate knowledge) "and research achievements in the design of the application of the development to enrich.

Second is a hand. The design practice how to can most effectively through to the design of concrete course? As a kind of handicraft activities, request every student participation from the beginning to the end? Or industrial environment in the simulation of micro technology under development is more and more likely to do, also or similar to the requirements of carving rich visual imagination art activities to comprehensive education, so that the students can work in practice and advanced technology to further improve the skills? The three methods, especially the third kind. In my opinion, has certain significance. In recent years, with industry in project related or use of the industrial technology of the cooperative project, and to the requirements of the visual imagination sometimes second. This is beneficial to the students, but we also have to remember, the student is design for the future, but not now or in the past, so challenge consciousness is very important, and the future of stylist can't just care about today's industry.#p#分頁標(biāo)題#e#

The third is the heart. Forget about the age of the Victoria industry emotional appeal, think about the design is not only for the thing, it is in a certain social cultural background. This means that the contemporary and future of the students should not be the master of style concept, in vast cultural background, the feeling of the era of jump artery bo. As students, they must contact and artist, is like a college English language student may have to deal with the philosophy department. The heart of another meaning, is to make students realize as a designer of social responsibility and technical environment responsibility. At present, born after 1970 student needs this knowledge, and born after 45 years of teachers and can't fully satisfy these needs. More than 100 years ago as Ruth gold it: as education workers, we must always care about how to make a complete one, train a rich imagination, sensibility, thinking ability, working ability and group work design talents, not alone on the brain, heart, hand which lay particular stress on, but for students in three aspects all-round development.

Finally, I want to repeat that Ruth gold of words, his positive initiative in the public education system design by constantly improve the development, continues today, with more than the world any other design education system to a long history.

"Design should be made by the most ingenious mechanical, or human hands to finish. So far we haven't design, and will not design can like any possible human hands that clever machinery.

http://www.ttc-switch.com/dissertation_writing/Education/2012/0321/1092.html The best design comes from the heart, and integration of emotion that is better than the brain and emotion with the union, and both were better than with emotion and the combination of the hand.

So make a whole person. "

Since Ruth gold after, society, and technology, culture had all kinds of profound changes, so I think we need this kind of comprehensive development of stylist, more need to be able to make out the designer's education system.