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We need to consider whether our attitudes toward “professionalism” in design education do the same. GRAPHIC DESIGN EDUCATION Though hardly homogeneous, the vast majority of graphic design programs, whether in vocational schools, art schools, or universities, are, at least in concept, vocational training programs. 1 Hannes Meyer, the architect who became director of the Bauhaus after Walter Gropius, brought in experts from other disciplines as speakers, but his tenure was too short to have established a design theory at the Bauhaus.
Clearly, the criteria against which the effectiveness of design education should be measured have changed. The diversity of these criteria signals the need for radically different programs from which students and employers may choose. It may no longer be possible to provide a “general” education in design and expect graduates of these programs to excel in practice. New standards of excellence encourage new methods of instruction and curricular innovation that are responsive to shifting definitions of professional practice.
7. Paul Hirst, “Liberal Education,” in The Encyclopedia of Education, vol. 5, ed. Lee C. Deighton (New York: Macmillan Company & Free Press, 1971), 505–9. 8. ” Harper’s (December 1991), 283: 1699. 9. Clark Kerr, The Uses of the University (New York: Harper & Row, 1966), 39–40. 10. Kerr, 41. 11. Paul Rand, Design, Form, and Chaos (New Haven and London: Yale University Press, 1993), 217. 12. Sharon Poggenpohl, “A Contrarian Approach to Graphic Design Education,” GDEA Proceedings 1990, Graphic Design Education Association.
Bayba: The 110 Bj's by Baldazzini