"The individual elements of the Bauhaus teachings are inscribed in a circular shape. The areas of the preliminary course and building are conspicuously delineated from the core of the instruction–the workshops with their accompanying subjects–by a drawn double ring. This is due to the special position that both of these teaching areas occupied: In order to even be accepted to the study programme at the Bauhaus, it was necessary to successfully complete the preliminary course. And only the most talented students could qualify for participation in the building theory course. The schema also indicates the length of the respective educational units."
Fig.1 Walter Gropius, Schema zum Aufbau der Lehre am Bauhaus, 1922, veröffentlicht in: Staatliches Bauhaus Weimar, 1919–1923 Bauhaus–Archiv / Museum für Gestaltung, Berlin.
"But design faces an uncertain future. The traditional design fields create artifacts. But new societal challenges, cultural values, and technological opportunities require new skills. Design today is more human–centered and more social, more rooted in technology and science than ever before. Moreover, there is need for services and processes that do not require the great craft skills that are the primary outcome of a design education.
Although design can sometimes bring creative insight to new problems, this ability is more of an art than a science, limited to a few especially talented individuals and design firms. In order to expand beyond chance successes, design needs better tools and methods, more theory, more analytical techniques, and more understanding of how art and science, technology and people, theory and practice can commingle effectively and productively. ...
Design is still mainly taught as a craft. There are remarkably few fundamental principles, almost no science. If design is to live up to its promise it must create new, enduring curricula for design education that merge science and technology, art and business, and indeed, all the knowledge of the university. Design is an all–encompassing field that integrates together business and engineering, the social sciences and the arts. We see a tremendous opportunity for students that learn design in this integrated way. ...
For design to succeed, grow, achieve its potential, and train future leaders, we envision a new curriculum. In our vision, these new programs combine learning the art and craft of beautiful, pleasurable well–crafted design with substantive courses in the social and biological sciences, in technology, mathematics and statistics, and in the understanding of experimental methods and rigorous reasoning. Programming and mechatronics are essential skills in today's product world. Not only will this training make for better practitioners, but it will also equip future generations of designers to be better at developing the hard, rigorous theory design requires.
Design is an exciting powerful field, filled with promise. To meet the challenges of the 21st century, design and design education must change. So too must universities."
(Don Norman and Scott Klemmer, 25 March 2014)
Wednesday, 5 February 2014, Utrecht School of the Arts (HKU) at Hilversum (http://interaction14.ixda.org/venues/).
"At a moment in time where everybody and everything is constantly interacting – through the use of networks, apps, products, media and services – educating students to design these interactions is not only needed, but also a fundamental challenge. Rapid developments in society and technology put increasingly high demands on the knowledge and skills of future interaction designers. Challenging traditional institutions, some companies have started programs for in–house training. At the same time, alternative educational platforms – such as edX, Udacity and Interaction–Design.org – are offering open access to high–level learning materials.
To successfully address these developments, interaction design education might need to reinvent itself."
"My challenge is how to construct and design an educational curriculum that develops the wide range of skills and knowledge it takes to be a designer, whilst opening up a space for our students to push the boundaries of our discipline. By focussing on the speculative and fictional, design is no longer constrained by the practical reality of todays material and economic restrictions. The part of our curriculum that concentrates on the fictional, pulls important parts of design practice into focus; narrative construction, user interactions, representations of affect, communication and contextualisation. We train designers to become fluent in the operational mechanics of their practice."
(Matt Ward, 17 July 2013)
"Our creative journey first began 170 years ago in 1843, with the opening of the Nottingham Government School of Design in the city. Driven by a growing need for design skills in regional industries, most predominantly in textiles and lace, 20 years of rapid evolution in art and design education followed."
(Nottingham Trent University)