The definition of a “Designer” is becoming more broad and nebulous everyday. Advancements in culture and technology have shattered the lines between disciplines and are constantly changing the way we approach our profession. With this higher calling for constant evolvement and progress within our field we must be constantly redefining what it means to be a “designer.”
As this definition of design changes, so must design education. The Valorised Designer, a critique on design education written by Nigel Whiteley, perfectly illustrates how a new diverse but cohesive approach to design education is needed in order to produce critical, sophisticated, and responsible designers.
Whiteley identifies and outlines the five main types of design education that students are exposed to within their schooling. Highlighting extreme examples in order to more clearly illustrate the gaps amongst each type of design education.
Type 1: The Formalised Designer
Suspicious of grand ideas and profound concepts, the formalised designer holds a utilitarian approach to design and focuses on creating a critical eye in terms of aesthetic understanding. Derived from the Bauhaus methodology, formalised designers focus on the creation behind their design. Concentrating on materials, and simple form & function this type of design education lacks any focus on design theory or value.
Type 2: The Theorised Designer
The Theorised designer is the flipside of the formalized designer. The theorised education forgoes actually creation in exchange for a deep theorized understanding of design. Deconstructing the power, and vested interests behind design, this education lacks practical knowledge and commercial knowledge. Often limited and somewhat irrelevant outside of the classroom, the theorised approach can often leave students with an elitist outlook on design. Making it difficult for them to design anything that communicates to the common majority.
Type 3: The Politicised Designer
The politicised model is not as widespread in its practice as the previous two educational models. Gaining popularity in the 70’s & 80’s, politicised design is an ethical designer whom tries to influence people’s actions through their social conscience. This method is fairly weak, as it demands a rational reaction to design. Assuming that ethically correct design will produce “correct” or “sensible” choices. Ultimately, the politicised approach to design education is very simplistic, idealist and incomplete.
Type 4: The Consumerised Designer
Focusing on consumerist priorities, the consumerised design education trains students how to create successful campaigns for commercial success in a simple conformist way. This approach does not critically view designs influence on society and produce design work that simply adds to the visual industrial clutter within our society.
Type 5: The Technologised Designer
Focuses primarily on new media and “cutting edge” technology. They create a superficial value out of the works technological relevance. Holding to the “latest & greatest” mentality, the technologized design education relies on visual impact and shock value.
All of these five basic types of education lack certain pieces of the design spectrum and have fundamental limitations. Whiteley expresses that we must develop a new model for design education that combines characteristics amongst the classic five models with an outlook on the consequences and value of design. This new model which Whiteley presents is known as the Valorised Designer.
The Valorised Designer:
The valorised designer is aware of the interdisciplinary nature of design in today’s society. Recognizing numerous outlooks: cultural, social, political, environmental, etc. the valorised designer finds their role amongst these social outlooks (issues) so that they can create design with a value. Valurised designers connect the theory and practice aspects of design and are able to look at design as a tool for change.
When designers view design as a tool that can spark change and influence aspects of society, they are able to better understand the ethical consequences of their work. When a designer better understand the world around them, and their place amongst the many social outlooks (issues) they can most effectively create design with purpose and value.
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