The purpose of design education is not to create designers, but to liberate them, help people who are about to become designers find and understand themselves, provide them with space and time that can freely exert their imagination and creativity, help them to discover their own intelligence, improve and Provide opportunities for them to broaden their knowledge in aspects of behavior, society, and natural science, and deepen their understanding. Ultimately, these specialized knowledge and methods are useful for investigating the practical issues they face in the future and seeking feasible solutions.
The following are the basic qualities that all designers who I have summed up have:
Sensitivity is concerned with the world around us and can be considered for others, and it has a strong interest in the aesthetic form and the significance of the surrounding cultural environment.
Wisdom is a natural ability to understand, absorb, and apply knowledge to serve humanity. Curiosity drives them to figure out why the world is like this, and why it must be.
When creativity seeks the best solution to a problem, it has a tough originality and passionate imagination.
Of these four qualities, sensitivity may have been the most confusing, and this phenomenon may continue to exist. Various types of design courses set up in early art colleges were designed to give expression to the individual. The performance of this personality may not resonate with onlookers, but this professional setting method promotes and consolidates mass production methods and works like art. (Antiquities) are preserved forever. Under this circumstance, there is no doubt that design education focuses on the values ​​of formalism and actually excludes considerations of various elements of humanities and technology. As a result, utilitarian products are treated as treasures and are extremely inconsistent with everyday life. Simply put, it is the form before the function. Even so, everything that human beings create reflects a personality and will inevitably integrate into culture.
Some people reminded us that if industrial design seeks an eternal and permanent form of function, it will accomplish nothing; even if industrial design really seeks a universal and unchanging form for every function, the fact is that cultural values ​​will always remain. Indelible imprint. Braun Company claims to be based on rationalism's understanding of product formation and that their products have universal characteristics. However, in the eyes of people in other countries, the company's product form is still clearly based on the Bauhaus geometry theory, with a unique yet attractive German style. Kurt Trivedi, a professor at the Indian Institute of Technology, once thought that “global, culturally-unique products are not a good thing for human creativity.†The concept of “no cultural features†embodies a form of monopoly by technologically advanced countries that threatens the inheritance of tradition and history.
Today's designers are in an era of electronic technology explosions. This is a challenge for older designers to rely solely on instinctive and intuitive design. The expansion of information frontier is like a sphere of “knowledge†expanding outward at an exponential rate. Everyone has the opportunity to perceive the answer to the incoherent factors of the surrounding environment from the flood of knowledge. As a social designer, each person has an instinct to perceive the incoherent factors of the surrounding environment and seek possible solutions that may be humane and feasible. Our common position is: Everyone recognizes that all business activities are designed to meet the needs and aspirations of others. This is the humanitarian and aesthetic conscience of industry. The goal of all designers is to reach a consensus: Only on the basis of quality, and abandoning local protectionism or trade protectionism, can we achieve an international climate that ensures equal trade in goods and services. The designer's service will also necessarily become an international commodity. As far as I know, Italian designers are working for Japanese companies and German designers are serving Italian companies. Products designed by Japanese designers will be produced in the United States, and these products will eventually be exported to Southeast Asia. Before my company ceased business in 1988, the products it designed included manufacturing for Americans in Japan and manufacturing in Colombia for Italians and North Americans, while also designing Europeans for a U.S. factory in Switzerland. The product used. Another scones designed and produced by American companies are sold under different trademarks in different countries, such as the German Braun trademark in Canada, Soles in Switzerland, Wego in Germany, and a French trademark in Australia: Molier. . In this way, this global design will continue to improve people’s lifestyles in most countries around the world, and will inevitably promote the general characteristics of product forms and services.
Despite this, industrial design education is still waiting for people to grasp its essential characteristics to observe, that is: it is a specific occupation arising from this impending 20th century technology background. Some industrial design professional guidelines still reflect the principle of "learning by doing" with craftsmanship. Although this method of craftsmanship has been used to design products with distinctive features and beautiful shapes at different levels, it has been challenged by the increasingly urgent challenges of the new technology revolution. Some people may think that the "learning by doing" approach indicates a more correct direction for future design education. In short, future education requires brains, even more than asking for hands. As the dominance of rational design strengthens, there will be hope for an exciting future. It will provide industrial designers with an opportunity to represent a catalytic force and achieve a more human-oriented society. Work hard.
Industrial design education has continued to develop at a rapid rate. On the one hand, it reflects that people have come out of superstitions on the quality of products and their influence. Compared to high-end products, the public seems to be throwing away after use and will not bring burden to the next generation. Daily consumer goods have invested more enthusiasm. At first glance, this seems to contradict the traditional concept of high quality and economic benefits. Because quality means durability and timeless value, economical means that you get the most benefit with the least investment and effort. The former refers to being as hard and strong as granite, while the latter is meant to be like a butterfly and it is hard to suck and suck nectar. The formation of granite requires a lot of material and energy to be eternal; while butterflies are willing to enjoy a moment of glory, and then consumed and recycled. Granite is inorganic without life, and butterfly is organic life. I think human products are like butterflies.
In the eyes of those who equate design with art, the above is simply a heresy. In other words, it considers personal expression too much: the other side of the meaning of industrial design, that is, it pays more attention to economic benefits and public interest. This concept may gain recognition in Europe faster than in the United States. A recent study on design education in the United Kingdom suggested that the basic curriculum of design should be free of the design education ideas that focus on the art curriculum and be guided by arts and crafts in order to focus more attention on finding problems and solving problems. The French also seem to have changed the cultural tradition of appreciation of design from the perspective of art, no longer emphasizing personal luxury and replacing it more with real life. However, a large number of outstanding design talents have been born in Italy. They designed industrial products like the unparalleled artworks of the world to seek the admiration and admiration of a group of eclecticists from abroad. For example, the famous Olivetti company has hired two design service companies led by famous designers Ettore Sottsass and Mario Bellini to design their products. This product design philosophy pays attention to the advertising effect of the product and aims to attract only high-level consumers. This idea was borne out in the cynical discourse of Italian ministryist Vittorio Gregetti. He used to reassure his students with such a section in the class. “As long as one person does not want to repeat the lifestyle of others, he can live a comfortable and elegant life.â€
In other technologically advanced countries, there is a new wave of design ideas that focus on the interests of the people. We also see that the developing countries are also exploring their own potential and working hard to achieve a social and economic balance. Focusing on tomorrow's design education, through careful and meticulous continuous improvement, will serve the needs of the majority, not just the wishes of the few.