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Which clippings match 'Design Curriculum' keyword pg.1 of 2
15 JULY 2014

Diagram for the structure of teaching at the Bauhaus / Schema zum Aufbau der Lehre am Bauhaus

"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.

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1922apprenticeshipart and design educationatelier methodBauhaus DessauBauhaus SchoolBauhaus WeimarBauhaus-KolloquiumBerlin • circular disk • colour theorycourse modulescraft and designcurricula designcurriculumcurriculum designdesign and makingdesign curriculumdesign educationdesign formalismdesign school • design workshops • hierarchical model • learning and teachinglearning through practicematerial experimentationmaterial interventionsmaterial practice • Museum fur Gestaltung • programme modulesschema • Schema zum Aufbau der Lehre am Bauhaus • Staatliches Bauhaus • studio approachstudio coursestudio practice • study programme • Walter Gropiusworkshops

CONTRIBUTOR

Simon Perkins
06 APRIL 2014

State of Design: How Design Education Must Change

"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)

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2014 • analytical techniques • analytical thinkingart and design education • behavioural sciences • call to actioncomplex phenomenacraft and materialscraft skills • creative insight • creative leaders • deductive reasoning • design academics • design and visual culturedesign artefactsdesign craftdesign curriculadesign curriculumdesign educationdesign education must changedesign facultydesign methodsdesign pedagogydesign studio educationdesign theory • design theory and practice • design thinkingdisciplinary specialisationDonald Normanexperimental methodsexperimental type design • finding and solving problems • formal design methodsfundamental principlesinductive reasoningintegrative practicesinterdisciplinary knowledge • LinkedIn Influencers (series) • material practicesmateriality of artefacts • mechatronics • people and society • people and technology • practical theory • practice and theorypractitioner wisdomquestioning traditionsScott Klemmersynthetic thinkingsystematic approachsystems thinking • technology and people • technology designtheory and practicetheory of designthinking toolsuncertain future • well-crafted design

CONTRIBUTOR

Linda Carroli
09 NOVEMBER 2013

Design Fiction as Pedagogic Practice: Towards a fictionally biased design education

"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)

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acting out • Archigram • behavioural trajectories for action • design artefactsdesign curriculumdesign educationdesign fictiondesign futuresdesign proposalsdesign speculationdiegetic • diegetic prototype • discarded designs • engaging stories • experimental design • fiction and speculation • fictional futures • fictionalisationimaginationimaginative storiesimagined possibilitiesimagining • Madeleine Akrich • manifestonew forms of interactionproposalspushes boundariesspeculative designspeculative proposalsSuperstudio • transformative potential • unread • user interactions • vapourware

CONTRIBUTOR

Liam Birtles
03 DECEMBER 2012

Neville Brody: removal of design from school curriculum is 'insanity'

"plans to remove creative subjects from the UK curriculum are 'short–sighted insanity', according to incoming D&AD president Neville Brody (+ interview).

Speaking to Dezeen, Brody described government plans to overhaul the curriculum as 'one of the biggest mistakes in British government' and added: 'The UK government is trying to demolish and smash all ideas about creative education.'

In September, education secretary Michael Gove announced plans to replace GCSE examinations for students up to the age of 16 with a new English baccalaureate (EBacc) system. Creative subjects such as art and design will not count towards the EBacc qualifications, which instead are graded on performance in academic 'stem' subjects. These stem subjects are English, mathematics, history or geography, the sciences and a language. ...

'The creative industries need high–quality creative graduates. If we're not getting the graduates, we're not going to sustain the industry,' said Brody. 'Creative services as a percentage of GDP is higher here than any other country, so why would you not want to support, promote and build that?'"

(Dezeen, 26 November 2012)

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2012Andrew Marrart and designart schools • arts students • British Government • creative education • creative graduates • creative industriescreative professionscreative servicescreative subjectsD and ADdesign curriculumDezeenEBacceducation budgetEnglish BaccalaureateGCSE • GDP • graphic design agency • Michael GoveNeville Brody • non-UK students • overseas students • Research Studios (agency) • Royal College of Art • school of communication • skilled dangerous minds • STEM • studying arts • UKUK Governmentvisual design

CONTRIBUTOR

Chris Treweek
15 JUNE 2012

Why Design Education Must Change

"even were a design school to decide to teach more formal methods, we don't really have a curriculum that is appropriate for designers. Take my concern about the lack of experimental rigor. Suppose you were to agree with me – what courses would we teach? We don't really know. The experimental methods of the social and behavioral sciences are not well suited for the issues faced by designers.

Designers are practitioners, which means they are not trying to extend the knowledge base of science but instead, to apply the knowledge. The designer's goal is to have large, important impact. Scientists are interested in truth, often in the distinction between the predictions of two differing theories. The differences they look for are quite small: often statistically significant but in terms of applied impact, quite unimportant. Experiments that carefully control for numerous possible biases and that use large numbers of experimental observers are inappropriate for designers.

The designer needs results immediately, in hours or at possibly a few days. Quite often tests of 5 to 10 people are quite sufficient. Yes, attention must be paid to the possible biases (such as experimenter biases and the impact of order of presentation of tests), but if one is looking for large effect, it should be possible to do tests that are simpler and faster than are used by the scientific community will suffice. Designs don't have to be optimal or perfect: results that are not quite optimum or les than perfect are often completely satisfactory for everyday usage. No everyday product is perfect, nor need they be. We need experimental techniques that recognize these pragmatic, applied goals.

Design needs to develop its own experimental methods. They should be simple and quick, looking for large phenomena and conditions that are 'good enough.' But they must still be sensitive to statistical variability and experimental biases. These methods do not exist: we need some sympathetic statisticians to work with designers to develop these new, appropriate methods."

(Don Norman, 26 Nov 2010, Core77)

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applied impact • applied knowledge • behavioral science • design curriculumdesign educationdesign education must changedesign methodsdesign practitionersdesign researcherdesign schooldesign thinkingdesignersDonald Norman • experimental biase • experimental knowledgeexperimental methods • experimental rigor • experimental techniques • experimenter biase • formal design methods • good enough • satisfactory results • scientific communityscientific knowledge • sensitive to statistical variability • social and behavioral sciences • social sciencestatistically representative samplestatistics

CONTRIBUTOR

Simon Perkins
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