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Dear Don and colleagues


Yes indeed:


«Design has multiple components.  I need my products to work properly, to be

robust and effective as well as economical, reliable, and ecologically

sensitive. For these traits, I look to science and engineering, to rigor,

and formal methods. Here is where engineering design plays a critical role.


But I also want to love my products, to find them enjoyable, exciting, and

desirable.  Here is where emotion, intuition, and art play essential roles.»


Few among us, especially those trained or training to be experts in this
(Arts) or that (Hard Science/Engineering) discipline, may wonder how can
all the knowledge required as above be developed and located in one single
head of a designer?


With your permission, I’ll add further to your post that, contrary to some
myopic and ill-advised requirements by industry and the (job) market place,
designers ought not train to be experts in either or in all of the knowedge
that is needed to foster «rich, and satisfying lives». A little elaborated
in the following chapter:


«*Design Studies: A Transdisciplinary Perspective.» *A chapter in
‘Transdisciplinarity. Theory and Practice.’ Edited by Basarab Nicolescu.
Creskill, NJ. (USA): Hampton Press, Inc., 2008, pp. 237-244.



my view of designers is that of these being trained as transdisciplinary
individuals, calling upon and managing appropriate expert inputs as
respectively required by each artefact being conceived. Alongside needed
artists, engineers, and all other disciplinary experts, society does also
(badly) need a third category of professionals that Terry didn’t know how
and where to categorize. These have been labelled as ‘ignorant
generalists’, deriving their artefactual propositions neither out of
‘crative’ blue, nor from mere and exclusive mathematical assumptions;
rather, from both incisive ‘emotions’ and factual ‘rigor’. To me, that is a
category of 'expert' individuals that our teaching institutions must train
still.


Francois, with best wishes from Kigali!


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