Hi Stephen,
Thanks for your message.
There's a presumption somewhere about the lens things are being seen through if teaching Modernism is viewed as teaching students how to design.
Isn't the fact that teaching Modernism prima facie evidence that design is being taught through Design History?
A serious question - Why teach Modernism rather than teaching students how to design?
In most design fields, the idea of teaching design practice through design history in that field would be considered odd.
For example, if you were teaching students how to design database structures, e.g. for Big Data systems, why would you (say) teach the history of the telephone?
I suggest in other design fields such focusing on historical issues would seem odd.
Best regards,
Terence
==
Dr Terence Love, FDRS, AMIMechE, PMACM, MISI
PhD, B.A. (Hons) Eng, P.G.C.E
School of Design and Art, Curtin University, Western Australia
Honorary Fellow, IEED, Management School, Lancaster University, UK
PO Box 226, Quinns Rocks, Western Australia 6030
[log in to unmask] +61 (0)4 3497 5848
ORCID 0000-0002-2436-7566
==
-----Original Message-----
From: [log in to unmask] [mailto:[log in to unmask]] On Behalf Of Stephen B Allard
Sent: Wednesday, 8 April 2015 10:17 AM
To: [log in to unmask]
Subject: Re: Design Studies and Design History
I'm currently teaching a course titled "Modern Design Theory"
I am finding it impossible to introduce the concepts of 'modernism', 'design' and 'theory' and to students born after 1990, without some sort of mention of design's historical roots dating back to 1500 AD and the beginning of the Modern era. I've also had to differentiate modern social theory (macro) with that of practical theory (micro).
The first half of the semester is all about historical context (i.e art movements, world wars, mass production, corporate communication, consumerism et al). The second half will be about exposure to what is currently being used and experimented with today (i.e design thinking, online education, globalization, sustainability, experience design, 3D printing, renewable energy, environmental and resource limits et al).
I believe it is possible and necessary to compress the two subjects of history and its studies together into one course in order for students to understand where design has been and then be able to add value to the current design zeitgeist upon their graduation.
The continued compression of design's history, methods and its theories as they are increasingly spread wider and applied to more and more of today's issues, is tremendously facilitated by technology and its ability to add and edit information to design's ever growing online dialogue and database.
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