The Journal of Asian Conference of Design History and Theory
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The Journal of Asian Conference of Design History and Theory No.2 ISSN 2189-7166 The Second Asian Conference of Design History and Theory Design Education beyond Boundaries ACDHT 2017 TOKYO 1-2 September 2017 Tsuda University Related Organizations: Design History Workshop Japan Japan Society of Design Japanese Society for the Science of Design Japan Society for the Promotion of Science Grant-in-Aid for Scientific Research (A) 2015-2019, “International Comparative Study of Art and Design Education” (Principal Investigator: Haruhiko Fujita, Osaka University) The Second Asian Conference of Design History and Theory —Design Education beyond Boundaries— ACDHT 2017 TOKYO / 1-2 September 2017 Tsuda University Related Organizations: Design History Workshop Japan Japan Society of Design Japanese Society for the Science of Design Japan Society for the Promotion of Science Grant-in-Aid for Scientific Research (A) 2015-2019, “International Comparative Study of Art and Design Education” (Principal Investigator: Haruhiko Fujita, Osaka University) Edited by Toshino Iguchi and Yasuko Suga Published by Saitama University Designed by Hisaki Matsumoto and Emi Naya (matsumotokobo. Ltd.) Printed and bound by shinano book printing Co., Ltd. ©The ACDHT 2017 TOKYO Executive Committee All rights reserved. No part of this publication may be reproduced in any form without written permission from the author. Printed in Japan ISBN 978-4-9906251-8-4 ACDHT 2017 TOKYO Scientific Committee Members Toshino Iguchi, Saitama University Haruhiko Fujita, Osaka University Yasuko Suga, Tsuda University Sonoko Monden, Saitama University Mayuka Sato, Reitaku University Keisuke Takayasu, Osaka University Keiko Hashimoto, Kindai University Noriko Yoshimura, Miyagi Gakuin Women’s University Yunah Lee, University of Brighton ACDHT 2017 TOKYO Executive Office Organizers: Toshino Iguchi and Yasuko Suga Contents 5 The Second ACDHT 2017 TOKYO “Design Education beyond Boundaries” Toshino Iguchi, Saitama University, Japan Theme I Design Theories and Ideas in Europe 9 Criticism of the Bauhaus Concept in the Ulm School of Design Keisuke Takayasu, Osaka University, Japan Transnational Connections for Architectural Design 19 between Germany and Japan on the Eve of World War II Enrique Rojo, ETSAUN Architecture School University of Navarra, Spain Hannes Meyer’s Scientific Worldview and Architectural Education 29 at the Bauhaus (1927-1930) Hideo Tomita, Kyushu Sangyo University, Japan City Planning and Architectural Education in the Establishment 41 of the Academies in 18th-Century Spain Akihiro Kashima, Setsunan University, Japan Towards an Interdisciplinary and Scientific Approach in Design Education: 53 Petr Tučný and his Applied Aesthetics Petra Nováková, Palacký University, Czech Republic Scottish Challenge in Design Education: The Trustees Drawing Academy’s 63 Pedagogical Vision for Post-Union Scotland Ariyuki Kondo, Ferris University, Japan Teaching Art to the Working Class: 77 John Ruskin and the Meaning of “Practical” Art Chiaki Yokoyama, Keio University, Japan An Open Design Theory for Society: From Osker Hansen’s “Open Form” to 89 Grzegorz Kowalski’s “Common Space, Private Space” Akiko Kasuya, Kyoto City University of Arts, Japan 3 Contents The Significance of Constructing the Social Model of Craft 97 in Graphic Design History Narrative Jung Hyun Kim, University of North Texas, USA Theme II Transnational Design in and around Asia Art and Design Education in Nineteenth Century India: 109 British Background and Development in South Asia Haruhiko Fujita, Osaka University, Japan The Photographic Society of Japan 121 and Photographic Enlightenment from the West Yuki Shimizu, Tsuda University, Japan Kohei Sugiura and Kirti Trivedi: 131 Capturing Asia as Transnational in Four Dimensions Megha Rajguru, University of Brighton, UK / Yasuko Suga, Tsuda University, Japan Love-hate Relationship with National Identity and Global Influences: 141 A Brief Review of Design Education in the Sinophone Region Wendy Siuyi Wong, York University, Canada Industrial Arts Education and Pattern Education in China’s Modern Design Education: China’s Modern Design Education 153 in the First Half of the 20th Century from Research on Chen Zhifo Gong Xiaofan, School of Design and Art, Beijing Institute of Graphic Communication, China Inheritance and Innovation: A Study of the Animation Character Design 163 Education Based on the Chinese Mythology Wen Ting Fang / Rungtai Lin, National Taiwan University of Art, Taiwan From Technological Design to Service Innovation: 177 A Case Study of the Development of Design Education in Taiwan Rungtai, Lin / Wen Ting, Fang / Wei, Bi, National Taiwan University of Art, Taiwan 4 The Second ACDHT 2017 TOKYO “Design Education beyond Boundaries” The conference proceedings for the Second Asia Conference of the Design History and Theory (ACDHT) comprise a selection of papers presented at conference held at 1st and 2nd September, 2017 in Tokyo, Japan. The theme of the conference is “Design Education beyond Boundaries.” Based on the theme, the conference has two strands: “Design Theories and Ideas in Eu- rope” and “Transnational Design in and around Asia.” The conference looks at the historical development of design education related to globalization of design concept and design practice. What have been the roles of trans/nationalism and imperialism in design education? How has design education systems developed as liaisons between local tra- ditional design practice and new global design ideas? Did class and gender influence the developments of design education in particular geographical areas? How have political, cultural, economical and social trends been in- fluential in design education? Can/could the national, gender, class or other boundaries stimulate the development of design education? We hope to ex- change views on these questions and many more, and study the field of de- sign education from a much wider, global perspectives. September 2017, Tokyo Toshino Iguchi, Saitama University ACDHT 2017 TOKYO 5 Theme I Design Theories and Ideas in Europe Criticism of the Bauhaus Concept in the Ulm School of Design Keisuke Takayasu Osaka University [email protected] 9 Abstract In 1950, the Swiss designer Max Bill was invited to assist Inge Scholl in planning a new school of design in Ulm similar to the Bauhaus because of Bill’s experience at the Bauhaus and the modernist works he had developed from the 1930s to the 1940s in Switzerland. When the Ulm School of Design provisionally began its design courses in 1953, Max Bill became its first rector. When the new school building was officially opened on 2 October 1955, the school was expect- ed to be a successor to the Bauhaus school. However, in 1957, a conflict over educational principles became unavoidable; younger teachers, even Otl Aicher, the co-founder of the school, complained that Bill placed too much weight on art in the design education. In 1957, Bill left the school. New leaders such as Tomás Maldonado opposed certain Bauhaus concepts because they tended to believe more in the te- nets of traditional art training. Therefore, in accordance with the complex requirements of the industrial society, younger lecturers encouraged a design education based on the latest scientific knowledge. A similar reorientation was also seen in the Bauhaus. Hannes Meyer, the second rector, had attempted to exclude purpose-free art training so as to develop practical instruction using scientific approaches. This paper examines the historical significance of the functionalist refor- mation that took place in both schools with a focus on the fundamental problems with free art training as part of design education. Keywords: Bauhaus, Gestaltung, Modernism, Free Art, Industrial Design, Criticism of the Bauhaus Concept in the Ulm School of Design 10 The ACDHT Journal, No.2, 2017 Introduction The ultimate purpose of this paper is to examine the meaning of Gestaltung, which was the rep- resentative concept for modern design in German speaking areas. As there has been a great deal of research on the history of the Bauhaus and its influences, this study seeks to understand the history of the design concepts and their effect on design education. For this purpose, special attention is given to the Hochschule für Gestaltung Ulm (Ulm School of Design) because of its positioning between Bauhaus concepts and those of the more contemporary institutions. This study reconsiders the modernist concept of Gestaltung by: 1) comparing the three Gestaltung schools; 2) examining Hannes Meyer’s Bauhaus reformation; 3) reviewing Max Bill’s contribu- tion as the successor to Bauhaus; 4) discussing the establishment of the Ulm School of Design; 5) investigating the criticism of Bauhaus in the Ulm School; 6) outlining the Ulm Model; 7) and briefly reviewing design education after modernism. Three Schools of Gestaltung The names of educational institutions, departments, and subjects are important when tracing the changes in design concepts over time. In Germany from the late 19th century, Kunstgew- erbeschule (schools of arts and crafts) was established all over the country. The Bauhaus, which started in 1919, had retained the practical workshop based training; however, it did not use the name Kunstgewerbeschule. When the Bauhaus moved to Dessau in 1925 when the school was being developed as a central institution of modern design, it adopted a new name, Hochschule für Gestaltung (School of Design) as a second name for the school. The German word Gestal- tung literally