Design methods: Difference between revisions

Revision as of 15:39, 17 December 2005

Revision as of 18:34, 17 December 2005

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The [[Bauhaus]], originally a craft school, moved to integrating design education within modern industrial production systems and was instrumental in transforming what William Morris and Peter Beherns had started. [[Walter Gropius]], and other faculty created the notion of the "Bau" in the center with all associated applied design professions surrounding it to create an integrated environment.

[[World War II]], and its destruction of Europe caused the art and intellectual community to again search for meaning. With the rapid development of science and technology to rebuild Europe, there was a tension between "progress" and "quality of life." Specializations in all fields fragmented a larger understanding of integrated solutions. Design as a field was exploring how it could be part of the post-war reconstruction and reconstitution of society. Tomas Maldonado, an Argentinian architect and director of the post-war design school, Hochschule für Gestaltung in Ulm, the post-war design school strove to link design to improving the social dimension -as andwell as designed products to improve it. Certain design programs were being developed not just in art schools, but schools of technology and engineering (like [http://www.id.iit.edu/ IIT in chicago]). He realized that design, as an applied art, was a synthetic discipline that borrrowed heavily from other disciplines. He wrote in The Education of Vision (Gyorgy Kepes, Editor):

"There is nothing less comfortable than being obliged to exercise an unlimited profession in a world of strictly limited professions: in other words to exercise a profession whose beginning and end, whose own territory and that of the neighboring profession is unknown . . . he cannot ever rid himself of the unconfessed feeling of illegitimate appropriation."