Paul Tosh wrote:
>I usually start a project with a slide lecture, showing examples of the
>concepts I am talking about and flesh this out with reading assignments.
In addition to this and to answer Rosan's earlier question, one trick
stumbled upon quite by accident - was in starting a lecture series with the
presentation of an exceedingly accomplished piece of final year work to
incoming students.
One can imagine the typical reaction.
Although intimidating to students with sometimes rudimentary drawing,
graphic and 3D skills, we would then deconstruct the visual to explain how
each part was achieved. Some of this by demonstration, etc.
It seems that those in the class 'driven' with the desire to become design
professionals, presented with a concrete example of a goal, then set
internal targets to 'better' the work shown. Often these same 'driven'
individuals seem to be the ones that progress to employment in design.
Coincidentally, the image most often used was that of a student who had
been 'difficult' in the preceeding year and had set out to learn a computer
modelling system not available at the school. His strive to better the
images he had been presented with however, resulted in nationally award
winning work. He was great example of transformation, and last I heard was
at GE in the US working on domestic goods. (the ones in Walmart)
On reflection, it was desire to accomplish the work on the walls at degree
show time that inspired myself, (so the quality of that work is probably
extremely important, in helping to set the whole direction - another
discussion for another time).
Moving to the various points raised about systematic and socially aware
tuition, we have a current project that demonstrates the problems facing
working design teams.
The design of a lavatory for a newly developed airplane - the Sukhoi RRJ.
Such work has to be socially aware and function with the greater system as
an integrated whole. We have to work collaboratively over distance as well.
However, the time required to study the situation in the depth these
problesm really require would mean that the forthcoming presentation to
airlines that will ensure the success of the overall project would ensure
no real work is achieved.
To 'sell' this design we need people that can think, draw, 3D model and
design. (like hell)
However, at this point it would be wise to recall the greater role
engineering plays in our field - the better engineer overlaps in our area,
and it is there where many of the fundamental design issues are driven.
Engineering deals with the qualitative and quantative things, and we seem
to deal on the subjective aspects.
This is when the traditional skillset comes into play - working in the
realm of subjectivity. To quote Ideo - if you can't draw it, it probably
doesn't exist.
Traditional + contemporary skills; without them we'd be out of business.
Glenn Johnson
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There are 13 messages totalling 705 lines in this issue.
Topics of the day:
1. Rosan's question about CCS teaching methods (6)
2. design research impact on the 'working designer' (2)
3. more rice and potatoes
4. Design Research failure/ success flip flop with time
5. typographic design research and education
6. Knowledge Transfer Partnership Opportunity
7. typographic design research and education: my take
----------------------------------------------------------------------
Date: Wed, 22 Sep 2004 20:39:55 -0400
From: Rob Curedale <[log in to unmask]>
Subject: Rosan's question about CCS teaching methods
It is not easy to summarize the teaching methodologies we use at CCS.
In my Department (Industrial Design) we have about 40 instructors. CCS
was established in 1906. Our instructors have been here for up to 40
years but we get a number of new ones each term. We try to prepare our
students for design positions in industry. Our instructors all have
considerable industry experience and continue to work in industry while
teaching. They come from a range of backgrounds including product,
interior, engineering and architecture. We have a lot of industry
sponsored projects. We have placed more graduates into the car industry
than any other design school globally and our students find employment
and internships in companies in North America, Europe and Asia each
year. I think that there will be a little under 400 students this year
in my department once the undeclared students have selected their
concentrations. I believe we are the largest ID department in North
America but may be smaller than Coventry in the UK. Maybe some forum
memebrs could say how the department compares in size to European and
Asian schools.
Of course quality is more important than quantity in design. We strive
to constantly improve the quality of our instruction. Our concentration
is on trying to provide the skills most needed by industry and
maintaining close contact with industry. Some other schools see us as
somewhat of a boot camp for designers where we work the students hards
and expect a high level of technical skill. We are now trying also to
produce graduates who can think as well as draw. This is a more
difficult task. We encourage international exchanges and diverse
international visitors to talk to the students.We exhange a number of
students each year with STRAT College in Paris and a number of other
schools in Europe and other places.
We also encourage out teachers to be involved in visits and exchanges
with schools in other countries. Over the next few weeks I will be
speaking in Tuscon, visiting some schools in China and teaching a one
week workshop in Lisbon Portugal.
I understand that some other schools have different approaches to
teaching.
______________________________
R o b C u r e d a l e
Professor, Chair Product Design
College for Creative Studies Detroit
201 East Kirby
Detroit MI 48202-4034
Phone: 313 664 7625
Fax: 313 664 7620
email: [log in to unmask]
http://www.ccscad.edu
______________________________
______________________________
R o b C u r e d a l e
Professor, Chair Product Design
College for Creative Studies Detroit
201 East Kirby
Detroit MI 48202-4034
Phone: 313 664 7625
Fax: 313 664 7620
email: [log in to unmask]
http://www.ccscad.edu
______________________________
>>> <[log in to unmask]> 09/20/04 11:56PM >>>
Dear Rob and Glen (and others)
Maybe you can tell us what you think are the skills. And better still,
how
you teach them in your university.
------------------------------
Date: Thu, 23 Sep 2004 14:52:04 +0930
From: Jan Coker <[log in to unmask]>
Subject: Re: design research impact on the 'working designer'
Practice can become part of research. That is what action research is. The
whole concept of praxis is one of thinking and doing.
Jan
Jan Coker
C3-10 Underdale
University of South Australia
+61 8 8302 6919
fax +61 8 8302 6239
Relativity teaches us the connection between the different descriptions of
one
and the same reality
Albert Einstein
------------------------------
Date: Thu, 23 Sep 2004 15:03:53 +0930
From: Jan Coker <[log in to unmask]>
Subject: Re: more rice and potatoes
To the rice and potato eaters:
Richard just reminded me that there is a wonderful Persian rice dish which
includes potatoes and something called tadeek (I don't really know how to
spell
this) Potatoes are sliced and cooked in oil in the bottom of the pan
cooking
the rice. After that part, potatoes and some rice is brown (that is the
tadeek
part) and crispy it is turned upside down on a platter. Delicious!
Jan
Jan Coker
C3-10 Underdale
University of South Australia
+61 8 8302 6919
fax +61 8 8302 6239
Relativity teaches us the connection between the different descriptions of
one
and the same reality
Albert Einstein
------------------------------
Date: Thu, 23 Sep 2004 14:50:36 +0930
From: Jan Coker <[log in to unmask]>
Subject: Re: Design Research failure/ success flip flop with time
As an aside it might be good to remember that although the Edsel was a
'failure
as a competitive automobile it has become an American Icon. Here in
Australia
as other places there are always Edsels in the classic auto shows.
Jan
Jan Coker
C3-10 Underdale
University of South Australia
+61 8 8302 6919
fax +61 8 8302 6239
Relativity teaches us the connection between the different descriptions of
one
and the same reality
Albert Einstein
------------------------------
Date: Thu, 23 Sep 2004 11:18:38 +0200
From: Rosan Chow <[log in to unmask]>
Subject: Re: Rosan's question about CCS teaching methods
Dear Rob
first, i like to invite you to come to bremen next march. if everything
goes well, we are likely to have quite a number of presentations on
evolving design education. you will find people to talk with.
as i pointed out and you noticed, there are different approaches to
teaching design these days. maybe much more diverse than 100 years ago
when CCS was founded. while it is difficult to judge the approach you
(CCS) take by reading your text, i have a feeling that it is still quite
traditional.
i am curious to know if CCS is interested in other approaches that are
aimed to address issues that the traditional approach fails to address. i
will give two examples:
1 a culture of systematic inquiry, reflection and criticism
2 a culture of social concerns
i hope that CCS is also interested in these issues. given the history, the
reputation of the school and the volume of designers produced, to me, your
school can make a difference.
best, rosan
Rob Curedale wrote:
> It is not easy to summarize the teaching methodologies we use at CCS.
>
> In my Department (Industrial Design) we have about 40 instructors. CCS
> was established in 1906. Our instructors have been here for up to 40
> years but we get a number of new ones each term. We try to prepare our
> students for design positions in industry. Our instructors all have
> considerable industry experience and continue to work in industry while
> teaching. They come from a range of backgrounds including product,
> interior, engineering and architecture. We have a lot of industry
> sponsored projects. We have placed more graduates into the car industry
> than any other design school globally and our students find employment
> and internships in companies in North America, Europe and Asia each
> year. I think that there will be a little under 400 students this year
> in my department once the undeclared students have selected their
> concentrations. I believe we are the largest ID department in North
> America but may be smaller than Coventry in the UK. Maybe some forum
> memebrs could say how the department compares in size to European and
> Asian schools.
>
> Of course quality is more important than quantity in design. We strive
> to constantly improve the quality of our instruction. Our concentration
> is on trying to provide the skills most needed by industry and
> maintaining close contact with industry. Some other schools see us as
> somewhat of a boot camp for designers where we work the students hards
> and expect a high level of technical skill. We are now trying also to
> produce graduates who can think as well as draw. This is a more
> difficult task. We encourage international exchanges and diverse
> international visitors to talk to the students.We exhange a number of
> students each year with STRAT College in Paris and a number of other
> schools in Europe and other places.
> We also encourage out teachers to be involved in visits and exchanges
> with schools in other countries. Over the next few weeks I will be
> speaking in Tuscon, visiting some schools in China and teaching a one
> week workshop in Lisbon Portugal.
>
> I understand that some other schools have different approaches to
> teaching.
------------------------------
Date: Thu, 23 Sep 2004 07:23:37 -0400
From: Rob Curedale <[log in to unmask]>
Subject: Re: Rosan's question about CCS teaching methods
Rosan,
Our teaching techniques are traditional but we try to also teach new
methods where the old methods do not work. Environmental issues for
example are not taught well in many US schools because many
manufacturers are not concerned beyond their external PR about these
issues. In that case we are introducing teaching material developed with
the Industrial Design Institute of America that has substantial
scientific content and was developed specifically for product design
students in North America. If we can teach this area well our graduates
in Detroit are in a position to influence the way that industry deals
with these issues more than most design schools internationally.
The specific areas that you mention:
1 a culture of systematic inquiry, reflection and criticism
2 a culture of social concerns
We are trying to develop an approach that helps the students to identify
and solve problems with an orientation to strategic thinking and to the
long term rather than the short term. I am part of the planning committe
for the introduction of graduate study here. The school is an
undrgraduate.
institution.
On the 15th October I am speaking to NASAD annual meeting in Tuscon. The
audience will be a group of US design school presidents and deans on
global change and some possible responses in new design curriculum
content.
I spent much of my life in Australia and Europe and parts of Asia so I
can see a difference here in the approach to social issues in design
curriculums. The solution to teaching about these issues is not the same
solution here as in Europe becuse the history and culture here is
different. But CCS curriculum should be about equiping students to
implement constructive change beyond discussion and reflection in my
view.
Cranbrook Academy of Art is an interesting Graduate institution located
about ten miles from our campus in Detroit. It is known for some of its
past graduates including Charles and Ray Eames, Harry Bertoia, Florence
Knoll, Aero Saarinen, Niels Diffrient (who developed Humanscale tool)
and many others. Their orientation is more relective than our school and
oriented towards social criticism and change. Cranbrook was set up by
the same benefactor, Booth as CCS early last century. It has one of the
most beautiful campuses of any design school in terms of its
architecture, landscape and specially designed furniture which was
designed by Aliel Saarinen an Arts and Crafts Architect. We have some of
their gradutes teaching at CCS including Ken Krayer who is well known
amongst furniture designers in the US.
I would be interested in coming next year. We would need to discuss the
logistics.
______________________________
R o b C u r e d a l e
Professor, Chair Product Design
College for Creative Studies Detroit
201 East Kirby
Detroit MI 48202-4034
Phone: 313 664 7625
Fax: 313 664 7620
email: [log in to unmask]
http://www.ccscad.edu
______________________________
>>> Rosan Chow <[log in to unmask]> 09/23/04 5:18 AM >>>
Dear Rob
first, i like to invite you to come to bremen next march. if everything
goes well, we are likely to have quite a number of presentations on
evolving design education. you will find people to talk with.
as i pointed out and you noticed, there are different approaches to
teaching design these days. maybe much more diverse than 100 years ago
when CCS was founded. while it is difficult to judge the approach you
(CCS) take by reading your text, i have a feeling that it is still quite
traditional.
i am curious to know if CCS is interested in other approaches that are
aimed to address issues that the traditional approach fails to address.
i
will give two examples:
1 a culture of systematic inquiry, reflection and criticism
2 a culture of social concerns
i hope that CCS is also interested in these issues. given the history,
the
reputation of the school and the volume of designers produced, to me,
your
school can make a difference.
best, rosan
Rob Curedale wrote:
> It is not easy to summarize the teaching methodologies we use at CCS.
>
> In my Department (Industrial Design) we have about 40 instructors. CCS
> was established in 1906. Our instructors have been here for up to 40
> years but we get a number of new ones each term. We try to prepare our
> students for design positions in industry. Our instructors all have
> considerable industry experience and continue to work in industry
while
> teaching. They come from a range of backgrounds including product,
> interior, engineering and architecture. We have a lot of industry
> sponsored projects. We have placed more graduates into the car
industry
> than any other design school globally and our students find employment
> and internships in companies in North America, Europe and Asia each
> year. I think that there will be a little under 400 students this year
> in my department once the undeclared students have selected their
> concentrations. I believe we are the largest ID department in North
> America but may be smaller than Coventry in the UK. Maybe some forum
> memebrs could say how the department compares in size to European and
> Asian schools.
>
> Of course quality is more important than quantity in design. We strive
> to constantly improve the quality of our instruction. Our
concentration
> is on trying to provide the skills most needed by industry and
> maintaining close contact with industry. Some other schools see us as
> somewhat of a boot camp for designers where we work the students hards
> and expect a high level of technical skill. We are now trying also to
> produce graduates who can think as well as draw. This is a more
> difficult task. We encourage international exchanges and diverse
> international visitors to talk to the students.We exhange a number of
> students each year with STRAT College in Paris and a number of other
> schools in Europe and other places.
> We also encourage out teachers to be involved in visits and exchanges
> with schools in other countries. Over the next few weeks I will be
> speaking in Tuscon, visiting some schools in China and teaching a one
> week workshop in Lisbon Portugal.
>
> I understand that some other schools have different approaches to
> teaching.
------------------------------
Date: Thu, 23 Sep 2004 09:52:04 -0400
From: "Lubomir S. Popov" <[log in to unmask]>
Subject: Re: design research impact on the 'working designer'
Hi Jan,
What about seeing the world in a different way -- that research has become
part of practice. That is actually action research.
Best,
Lubomir
At 02:52 PM 9/23/2004 +0930, Jan Coker wrote:
>Practice can become part of research. That is what action research is. The
>whole concept of praxis is one of thinking and doing.
>Jan
>Jan Coker
>C3-10 Underdale
>University of South Australia
>+61 8 8302 6919
>fax +61 8 8302 6239
>Relativity teaches us the connection between the different descriptions of
one
>and the same reality
>Albert Einstein
------------------------------
Date: Thu, 23 Sep 2004 07:26:38 -0700
From: Gunnar Swanson <[log in to unmask]>
Subject: Re: Rosan's question about CCS teaching methods
Rosan,
On Sep 23, 2004, at 2:18 AM, Rosan Chow wrote:
> i am curious to know if CCS is interested in other approaches that are
> aimed to address issues that the traditional approach fails to
> address. i
> will give two examples:
>
> 1 a culture of systematic inquiry, reflection and criticism
> 2 a culture of social concerns
I'm curious what "traditional approach" you're talking about. We could
quibble about the word "systematic" but otherwise your two examples are
very much alive in good design programs. In some cases many would argue
that some programs concentrate too much on #2.
Gunnar
----------
Gunnar Swanson Design Office
536 South Catalina Street
Ventura California 93001-3625 USA
+1 805 667-2200
[log in to unmask]
------------------------------
Date: Thu, 23 Sep 2004 15:54:51 +0100
From: "Peter J. Walters(MRI)" <[log in to unmask]>
Subject: Re: Rosan's question about CCS teaching methods
Rosan
I agree with Gunnar that many design programmes do already address these
issues.
>> 1 a culture of systematic inquiry, reflection and criticism
>> 2 a culture of social concerns
In the UK, the art school tradition of design eduction has at its core a
culture of creative practice but all good courses support students making
activities with wider contextual and critical studies and students are
encouraged to reflect on the social implications of their work.
There must be good balance of theoretical and practical work - this is
essential.
I agree with Gunnar that, at times, it is possible theory can get in the
way of
practice and can suffocate creativity, so the balance must be right.
Jan is absolutely correct. Lets not forget practice as research. Bruce
Archer's
research through design.
"Mental and physical making are related to each other and dependant upon
each
other. If we disregard this mutual relationship we endanger ourselves and
the
world."
From Vossenkuhl in Aicher (1992) Analogous and Digital
Peter
Peter Walters
PhD Student
Sheffield Hallam University
http://www.shu.ac.uk/schools/cs/cri/adrc/research2/peterwalters
[log in to unmask]
------------------------------
Date: Thu, 23 Sep 2004 10:58:17 EDT
From: "Paul Tosh, M.F.A." <[log in to unmask]>
Subject: Re: typographic design research and education
Teena,
Sorry for the time between posts. Between classes yesterday, faculty
meetings, taking care of tech problems with our computer labs yesterday and
getting
ready for out of town guests, I ran out of minutes to sit, think and reply.
Actually, the Steven Heller book is relatively new, published this year.
It's
an Allworth Press publication. Well worth the effort to track it down.
I always try and use a combination of lecture and studio/tutorial problems
in
teaching. I come from the school of thought that research and theory should
have a direct relationship to practice and try teach theory as a tool for
conceptual problem solving.
I teach that all typography (and the tools: letterforms, fonts, etc.) is
expressive/interpretive in nature. This is where I tend to be a disciple,
somewhat, of Dan Friedman. Friedman's theory of legibility and
unpredictability
essentially says that legibility is dependent on convention and a condition
of
"optimal" communication (functionalism) between sender and receiver: i.e.
this
typography would be orderly, simple, static, (he also says it's banal), and
the
reader is essentially a passive recipient.
Whereas unpredictability (readability) has a different (opposing) set of
conditions that Friedman interprets as disorder, complexity, dynamism and
originality this type of typography requires the reader/viewer to be an
active
recipient/participant in interpreting the message. It promotes interest,
pleasure and
challenge and means allows for multiple interpretations of a message.
I usually start a project with a slide lecture, showing examples of the
concepts I am talking about and flesh this out with reading assignments. We
always
have a practical assignment that allows them to explore the ideas and
allows
for open critiques of the finished project. This follows through whether we
are
addressing Friedman, deconstruction, semiotics, cubism (yes, I believe
cubist
art practices had/have a direct influence on typographic practice: cubist
collage was a "technology" that opened the door for typographic
experimentation),
modernism, postmodernism, ad nauseum.
Paul Tosh, M.F.A.
Assistant Professor Art & Art History
University of Missouri-Kansas City
Fine Arts Building 205
5100 Rockhill Road
Kansas City, MO 64111
[log in to unmask] or
[log in to unmask]
(816) 235-6204 office
(816) 645-4145 cell
(816) 235-5507 fax
------------------------------
Date: Thu, 23 Sep 2004 17:10:05 +0100
From: Mark Wilkinson <[log in to unmask]>
Subject: Knowledge Transfer Partnership Opportunity
Dear Colleagues
I am seeking a recent graduate with a First or Upper Second Class
Honours Degree in Industrial / Product / 3D design or closely related
discipline for a two year fixed term contract as a Knowledge Transfer
Partnership Associate working for University College Northampton, UK
and based at Creative Tops Ltd, a Kettering, UK based manufacturer and
supplier of housewares.
The company has considerable in-house surface design expertise and now
seeks to augment this with an in-house Product Design function,
responsible to the Art Director.
Details of this post are available from:
http://www.northampton.ac.uk/job_vacancies_professional.php
and the application form can be downloaded from:
http://www.northampton.ac.uk/job_vacancies_apply.php
I should be really grateful if you would pass this on to any of your
recent graduates who you think may wish to apply.
With thanks and best regards
Mark
Dr Mark Wilkinson
Associate Dean (Development)
School of Applied Sciences
University College Northampton
------------------------------
Date: Thu, 23 Sep 2004 18:30:00 +0200
From: Rosan Chow <[log in to unmask]>
Subject: Re: Rosan's question about CCS teaching methods
hello gunnar and peter
it is in the context of speaking about three different approaches to design
education distingished by dick buchanan, that i refer 'traditional' to
'design education follows practice'. please refer to my post on September
20, 2005 for more details. sorry for the confusion.
and peter: i have not studied in the uk but i do understand design
education and research are more advance there, generally speaking. but i
believe few deans of any design school will come out and announce they have
a spotless design program. as far as i can see, we are pretty much on the
same boat, although some are better equipped, trying to make it though the
changing currents of our time.
all the best, rosan
Gunnar Swanson wrote:
> Rosan,
>
> On Sep 23, 2004, at 2:18 AM, Rosan Chow wrote:
> > i am curious to know if CCS is interested in other approaches that are
> > aimed to address issues that the traditional approach fails to
> > address. i
> > will give two examples:
> >
> > 1 a culture of systematic inquiry, reflection and criticism
> > 2 a culture of social concerns
>
> I'm curious what "traditional approach" you're talking about. We could
> quibble about the word "systematic" but otherwise your two examples are
> very much alive in good design programs. In some cases many would argue
> that some programs concentrate too much on #2.
>
> Gunnar
> ----------
> Gunnar Swanson Design Office
> 536 South Catalina Street
> Ventura California 93001-3625 USA
>
> +1 805 667-2200
> [log in to unmask]
------------------------------
Date: Thu, 23 Sep 2004 12:33:56 EDT
From: "Paul Tosh, M.F.A." <[log in to unmask]>
Subject: Re: typographic design research and education: my take
Teena,
Sorry for the time between posts. Between classes yesterday, faculty
meetings, taking care of tech problems with our computer labs yesterday and
getting
ready for out of town guests, I ran out of minutes to sit, think and reply.
Actually, the Steven Heller book is relatively new, published this year.
It's
an Allworth Press publication. Well worth the effort to track it down.
I always try and use a combination of lecture and studio/tutorial problems
in
teaching. I come from the school of thought that research and theory should
have a direct relationship to practice and try teach theory as a tool for
conceptual problem solving.
I teach that all typography (and the tools: letterforms, fonts, etc.) is
expressive/interpretive in nature. This is where I tend to be a disciple,
somewhat, of Dan Friedman. Friedman's theory of legibility and
unpredictability
essentially says that legibility is dependent on convention and a condition
of
"optimal" communication (functionalism) between sender and receiver: i.e.
this
typography would be orderly, simple, static, (he also says it's banal), and
the
reader is essentially a passive recipient.
Whereas unpredictability (readability) has a different (opposing) set of
conditions that Friedman interprets as disorder, complexity, dynamism and
originality this type of typography requires the reader/viewer to be an
active
recipient/participant in interpreting the message. It promotes interest,
pleasure and
challenge and means allows for multiple interpretations of a message.
I usually start a project with a slide lecture, showing examples of the
concepts I am talking about and flesh this out with reading assignments. We
always
have a practical assignment that allows them to explore the ideas and
allows
for open critiques of the finished project. This follows through whether we
are
addressing Friedman, deconstruction, semiotics, cubism (yes, I believe
cubist
art practices had/have a direct influence on typographic practice: cubist
collage was a "technology" that opened the door for typographic
experimentation),
modernism, postmodernism, ad nauseum.
Paul Tosh, M.F.A.
Assistant Professor Art & Art History
University of Missouri-Kansas City
Fine Arts Building 205
5100 Rockhill Road
Kansas City, MO 64111
[log in to unmask] or
[log in to unmask]
(816) 235-6204 office
(816) 645-4145 cell
(816) 235-5507 fax
------------------------------
End of PHD-DESIGN Digest - 22 Sep 2004 to 23 Sep 2004 (#2004-200)
*****************************************************************
|
