范文一:乌尔姆设计学院
乌尔姆设计学院
乌尔姆设计学院的教学模式是完全立足于科学的基础之上,把现代设计包括工业产品设计、建筑设计、室内设计、平面设计等,从以前似是而非的艺术与技术之间摆动的立场完全地移到科学技术的基础上来,成为单纯的工科学科。乌尔姆在工业方面的设计观念和方法很快扩展到平面设计和其他视觉设计范畴中,创立了视觉传达设计,一种完全崭新的视觉系统,包括字体、图形、色彩计划等被发展出来,成为世界各个国家仿效的模式。
学院坚定地从科学技术方向来培养设计人员,基本抛弃艺术课程,代之以社会科学、技术科学课程,包括心理学、机械原理、材料学、人机工程学等等,(基础课着重学生的理性视觉思维模式) 强调设计的企业性格、工业性格、批量生产的特点。目的是培养工业产品设计师和其他现代设计师,提高工业产品设计、建筑设计、平面设计等总体水平。
这种模式由于过于强调技术因素、工业化特征、科学的设计程序,因而没有考虑、甚至是忽视人的基本心理需求,设计风格冷漠、缺乏人格、缺乏个性、单调。但是具有非常合理的内容,为世界各国的工业设计提供了非常宝贵的观念和理论依据,对于现代工业的飞速发展功不可没。
范文二:乌尔姆设计学院与布劳恩公司
乌尔姆设计学院与布劳恩公司
20 世纪50到60年代,乌尔姆设计学院在设计人才的培养上获得了极大的成功,与此同时,学院关于设计思想的原则精神,也通过与布劳恩公司的合作而得到实现和反映,并由此产生出所谓“布劳恩原则”,真正实现了设计艺术教育服务于工业生产的教育宗旨, 成为德国高度几何化、理性化、功能化、高质量设计的典型。
布劳恩公司(Braun)作为德国最著名的大型家电公司之一 ,由马克斯?布劳恩(Max Braun)于1921年创建于德国的法兰克福,最初生产收音机、留声机的部件及其整个产品。 1945年重建后,把资金投入到生产家用电器上。1951年马克斯?布劳思去世后,他的两个儿子阿特?布劳恩和尔文?布劳恩(Artur Braun,Erwin Braun)接管了公司的管理工作。他们二人接受了大量的现代主义设计艺术思想,促使公司向新的设计生产方向转变,在产品的种类和形式上都有了质的飞跃。1954年,布劳恩公司聘请了乌尔姆学院的教师弗雷泽?埃歇尔(Frit Fichler)为董事会员,正式开始了与乌尔姆设计学院的合作。埃歇尔为布劳恩公司设计了一系列无线电收音机和音响。后来乌尔姆设计学院工业产品设计系主任汉斯?古戈洛特(Hans Gugelot,1920,1965), 以及奥托?艾舍和迪特?兰姆斯( Dieter Rams,1932,)等都成为布劳恩公司的设计师,乌尔姆设计学院的设计原则和设计方法由此逐渐进入产品的设计和生产之中,形成布劳恩公司自己的设计理念和风格。
与美国战后商业社会追求设计形式的“样式主义”设计原则不同,布劳恩公司不是在产品的形式上下功夫,而是以产品的实际质量水平来赢得市场,反对任何为商业目的而采取的形式主义做法,坚持依靠先进技术达到产品功能的完美,“设计是人体工学、功能和美学的等值”,设计的根本是如何使技术转化成产品以及如何使产品造型满足人的生理和心理需要。在这方面作出巨大贡献的设计师是古戈洛特和兰姆斯。兰姆斯是古戈洛特的学生,曾经在建筑设计事务所工作过,1955年受聘于布劳恩公司从事专职设计工作,开始了自己辉煌的设计历程。布劳恩公司设计风格的形成与兰姆斯的设计追求是分不开的。在设计形式上追求简约是兰姆斯设计哲学的主要体现,他认为“设计用以澄清‘我们生活世界中的嘈杂混乱’,因而产品中的‘视觉混乱’应通过设计得以减少,这就是意味着设计、
形式将降至毫无掩饰的基本形态,呈现光滑白色的外表,消除所有关于色彩和质感的表现。”而要实现简约设计,他认为系统设计是最有效的办法。因为在他看来,系统设计就是以有高度秩序的设计来整顿混乱的人造环境,使杂乱无章的环境变得比较具有关联和系统。在实际的设计中,以兰姆斯为代表的乌尔姆设计学院的设计师所倡导的系统设计理论,不是停留在对工业化制造方式的考虑上,而是对功能主义的扩充和发展,主要表现在产品功能单元的组合,以实现产品功能的灵活性和组合性。如兰姆斯1957年首创的收音机与扬声器分离的音响系列(图 7-4),就是现代组合音响设计的雏形。总之,依据系统设计原则发展起来的盒式系列、架式系列和拼插系列产品,成为以兰姆斯为代表的设计师所主张的功能单元组合的设计的具体体现,并且最终形成系统设计的两种主要方式:一种是以一个主功能单元为基础,根据需要配置各种辅助配件;另一种是每个单元都具有独立的功能,单元组合形成具有复合功能的产品。
系统设计的核心是理性主义和功能主义,常采用基本单元为中心,形成高度系统化的、高度简约化的形式,整体感强而具有冷漠和非人情味的特征。系统设计通过把纷乱的现象予以秩序和规范化,将产品造型归纳为有序的,可组合的几何形态设计模式,取得了一种均衡、简练的和单纯化的逻辑效果。如1956年古戈洛特和兰姆斯合作设计的SK4型组合音响就是一个典型例子。该音响外形为一个长方形几何状的木头和塑料箱子,上加一个白色有机玻璃外罩,结构简单到无以复加的地步,被英国人讥为“白雪公主的棺材”( 图 7- 5)。
通过古戈洛特和兰姆斯的设计、宣传和推广,系统设计成为60年代以后西德设计的显著特征之一。系统设计从产品扩展到包括平面设计的其他领域,最终使德国设计在世界设计舞台以高度理性化的系统设计而著称。
范文三:乌尔姆造型学院
乌尔姆造型学院 Hochschule für Gestaltung, Ulm 档案馆网址:http://www.hfg-archiv.ulm.de
View of the HfG Ulm building from the west, 1956
乌尔姆HFG校舍 马克思比尔,1955
The Ulm School of Design (Hochschule für Gestaltung) was a college of design based in Ulm, Germany.
Founded in 1953 by Inge Aicher-Scholl, Otl Aicher and Max Bill, the latter being first Rector of the school and a former student at the Bauhaus. The HfG quickly gained international recognition and is now viewed as being second only to the Bauhaus as the most influential school of design. During its operation from 1953-1968, new approaches to the design process were implemented within the departments of Product Design, Visual Communication, Industrialized Building, Information and Filmmaking.
The HfG building was designed by Max Bill and remains intact today as a historically important and functional building under the auspices of Foundation Ulm. The HfG was one of the most progressive educational institutions of design in the decades of the 50s and 60s and a pioneer in the study of semiotics.
The history of HfG evolved through innovation and change, in line with their own self-image of the school as an experimental institution. This resulted in numerous changes in the content, organization of classes and continuing internal conflicts that influenced the final decision of closing the HfG in 1968. Although the school ceased operation after fifteen years, the ′Ulm Model′
continues to have a major influence on international design education.
curriculum学程设置:
The curriculum lasted 4 years. The first year was devoted to the basic design course (Vorkurs) that was intended to offset the deficit in primary and secondary education in terms of creative project activity.
The second and third years were for elective specialization: Product Design, Industrialized Building, Visual Communication and Information, with Filmmaking being added later.
The last year of study was intended for thesis. The plan was subject to investigations that were made in regard to new approaches to design and which were then implemented in each department of the specialties.
Basic Course 基础课程
Students of all programs shared the same basic design course, which lasted a year. This course was mandatory before proceeding to one of the five specialization programs offered by the institution. The course content was:
, Visual experiments: two and three dimensional studies based on the
perceptions and teachings of symmetry and topology.
, Workshops: wood, metal, plastics, photography, etc..
, Presentation: constructive drawing, writing, language, freehand, etc.
, Methodology: introduction to logic, mathematics, combinatorics and
topology.
课程设置:
Schematic teaching of HFG Ulm. The school design was characterized by formulating a
scheme based education in art and science. NOTE:此图标从西班牙语版本翻译并重新排
列
Department of Product Design 产品设计系
The product design department was the one who had more achievements and that radically changed the vision of industrial design. The development of new methods of mass production during the Second World War implored the designer to stop focusing primarily on the artistic point of view of the profession. Therefore, HfG teaching put increased emphasis on science and technology considerations, more in keeping with the times, and on industrial production processes that determine the final product quality and affect the product aesthetic form.
, Instruction in manufacturing: product design, operational organization,
processes, procedures, calculations.
, Technologies: Ferrous metals, nonferrous metals, wood, plastics and
forming technologies.
, Construction techniques.
, Mathematical analysis of operations: Group theory, statistics,
standardization.
, Scientific theories.
, Ergonomics: Human-machine systems.
, Theories of Perception, especially social
, Mechanics: Kinematic, dynamic and static.
, Copyright and miscellaneous
产品设计系二年级学生的课程设计摩托车
Michael Conrad等三位同学合作的作业
Department of Visual Communication 视觉传达系
At first the department was called Visual Design, but it quickly became clear their goal was to solve design problems in the area of mass media, so that in the 1956/56 academic year the name changed to Visual Communications Department.
The curriculum included the development and implementation of visual reports, news systems and transmission media. Emphasis included the field of planning and analysis of modern means of communication, with a clear focus on the illustrative arts. Maldonado also introduced the study of semiotics. This department worked closely with the Department of Information. Although HfG distanced itself from an affiliation with the mass media advertising industry. The HfG worked primarily in the area of persuasive communication in areas such as vehicular and pedistrian traffic sign systems, plans for technical equipment, visual translation of scientific content to be readily understood and unity of company communications materials.
Teaching Approach教学风格
In the early years of operation, and with the direction of Max Bill, the teaching of the school was guided by the principles of the Bauhaus, where the designer had a profile of being much more artistic than analytic. Based on the discrepancies between Bill's approach and that of other teachers, including the systems principles of Tomas Maldonado, the school shifted its ideology to a more methodological and structured field of study, but one that also strongly embraced aesthetics as a primary factor. This resulted in an academic program with a common basic course and an introduction to consolidated theoretical disciplines. The new design teaching approach became known as the "Ulm Model" which significantly influenced worldwide design education, especially industrial design, as the HfG reputation spread and many HfG graduates established Ulm-influenced education programs around the globe. Collaboration with Braun与博朗的合作
Midway through the decade of the 50s, the HfG and Braun, began a phase of cooperation. Braun needed to stand out from the competition and asked Otl
Aicher, Hans Gugelot, and students to work on new designs for the company. Dieter Rams, who was a newly hired Braun designer, collaborated with HfG on developing the forward-looking Braun product design approach. With this partnership the "Braun style" was developed, and according to Thomas Maldonado, "the style differed from Olivetti who sought unity in variety, while
the style of Braun sought unity in the product and its coherence with other
products. Because of this, the Braun-HfG collaboration was a formidable test bench for the design of "honest" form and coherent identity as an alternative to the random "styling" of individual objects.
Legacy影响
Until the founding of the Ulm HfG in 1953, there was no systematic approach of design education. HfG pioneered the integration of science and art, thereby creating a teaching of design based on a structured problem-solving approach: reflections on the problems of use by people, knowledge of materials and production processes, methods of analysis and synthesis, choice and founded projective alternatives, the emphasis on scientific and technical disciplines, the consideration of ergonomics, the integration of aesthetics, the understanding of semiotics and a close academic relationship with industry.
作品和资料:
Surface study 曲面造型练习
Poster designed by Margarete HfG K?gler in the class of Otl Aicher
Clock designed by Max Bill for Junghans during his time at the HfG
Corporate Identity Design for Lufthansa
汉莎目前使用的CI
Cup as part of stackable tableware for hotels designed by Hans Nick Roericht for thesis
work during 1958 and 1959
Vehicle designed by Klaus Krippendorff for the final graduation project of Product Design
Poster, Stefan May 1963–64
Poster, Gerhard Kolberger 1965–66 Poster, Dieter Wagner 1963–64
教学和日常活动:
Exhibition of work by students and lecturers in the refectory and lecture hall of the HfG, 1958
Class held on the terrace, 1956
Meeting of lecturers in the library, 1955 Students in the Foundation Course, 1955
Max Bill teaching, 1955 Max Bill and Charles Eames in Ulm, 1955
Hans Gugelot, 1958 Herbert Ohl teaching in the Building Department, 1959
Tomás Maldonado with architects and designers from Italy, 1959 Walter Zeischegg with students, 1962
Tomás Maldonado, 1966 Horst Rittel, 1958
Plenary session of HfG members on February 2, 1968, which called for autonomy of the HfG
HfG,Ulm年表
Prehistory | 1945–52
Inge Scholl, Otl Aicher, Max Bill, and Inge Scholl, Otl Aicher and well-known persons develop work on the concept, financing, and structure for a new institution of higher learning.
?School of design: Its range of activity consists of those areas of design which largely determine the way of life of our technical and industrial age. The form of the instruments we use, our dwellings, the plan of a housing development, city, or region, the printed and spoken word in the press and radio, the effect of images in publications, advertising, exhibitions, and film constitute crucial foundations for the mentality of our society.? Abstract of the Geschwister-Scholl-Stiftung, 1951
Inge Aicher-Scholl and Otl Aicher, 1955
Beginnings | 1953–55
The Ulm School of Design, with Max Bill as its director, begins classes in provisional rooms at the adult education center. On October 2, 1955 the school, and the first exhibition, are officially opened in the new building at the Oberer Kuhberg. The school establishes itself as academically competent and truly international right from the start.
The program started with the one-year Foundation Course. Students were subsequently able to decide which major to take: Information, Visual Design (later Visual Communication), Product Design, Architecture, or Town Planning. These departments all overlapped and complemented each other in their work, together forming a closed circle. The theoretical subjects sociology, economics, politics, psychology, and philosophy supplemented the main program.
Lecturers in the first few years of the HfG include Aicher, Albers, Bense, Bellmann, Bill, Curjel, Gugelot, Maldonado, Nonné-Schmidt, Peterhans, Pfeil, Portmann, Vordemberge-Gildewart, and Zeischegg.
Max Bense, 1953 Max Bill teaching, 1953 Walter Peterhans, 1953
Visitors to the HfG at this time include:
Mies van der Rohe, Hugo H?ring, Herbert Bayer, Konrad Wachsmann, Charles and Ray Eames. Technological design | 1956–58
The younger lecturers initiate a new phase at the HfG, striving for a closer relationship between design, theory, and science. The Ulm model is already appearing on the horizon with the introduction of development groups and the central role of cooperation with science, industry, and technology both in the classroom and the results produced.
Between 1956 and 1958 lecturers include Aicher, Bense, Bill, Fr?shaug, Gugelot, Kesting, Leowald, Maldonado, Pfeil, Scheidegger, Staub, Vordemberge-Gildewart, Wachsmann, and Zeischegg.
Hans Gugelot, 1956 Tomás Maldonado, 1955 Friedrich Vordemberge-Gildewart, 1955
Among the commissioning companies and products resulting from the development groups were: Junghans: kitchen clock (Bill, M?ckl) Max Braun AG: lounge lighting (Zeischegg) Gralglas: ashtray (Schild) Max Braun AG: audio equipment (Gugelot) Grünzig: toy furniture for children (Gugelot) Wohnbedarf AG Zurich and Bofinger Stuttgart: furniture kit system M125 (Gugelot). Visitors to the HfG at this time include:
Reyner Banham, Buckminster Fuller, Theodor Heuss, Mia Seeger and Norbert Wiener. Cybernetic design and positivism* | 1959–61
(*Quoted from Otl Aicher's ?phase model,? archithese 15, 1975)
Developments in the classroom lead to rigid working hypotheses and pragmatic work on detail. Scientific positivism, and an ?over-emphasis on science in teaching,? pervade the school and take precedence over the activity of design.
Students from the Information Department, 1958
Lecturers in the time from 1959 to 1962 include Aicher, Doernach, Fr?shaug, Gugelot, Kalow, Kesting, Leowald, Lindinger, Maldonado, Ohl, Rittel, Siol, Staub, Uittenhout, Vordemberge-Gildewart, and Zeischegg.
Value-driven design and program design* | 1962–66
(*Quotation from Otl Aicher's ?phase model,? archithese 15, 1975)
The aim is a balanced relationship between science and design, between theory and practice. New subjects of instruction include mass transportation, electronics, and ecology. The financial situation becomes critical.
Life at the HfG, around 1964
Lecturers between 1962 and 1966 include
Aicher, Bonsiepe, Doernach, Gugelot, Huff, Kalow, Lindinger, Maldonado, Ohl, Rittel, Schnaidt, Staub, Sugiura, Vordemberge-Gildewart and Zeischegg.
Herbert Ohl, 1963Claude Schnaidt, 1963Gui Bonsiepe, 1963
Kohei Sugiura, 1964William S. Huff, 1963
The End | 1967–68
Rescue attempts and new programs seek to preserve the HfG. Pressure from outside grows. Following a reduction in the number of both classes and lecturers, the remaining faculty members refuse to continue working, for financial and personal reasons. In October 1968 the state legislature resolves to no longer support the HfG.
Demonstration in front of the Stuttgart regional parliament building, 1968 The legacy of the HfG
?There was a hope for democracy at the beginning of the Ulm School… Max Bill created the space for this, and it was probably the sudden end to the pedagogical experiment that ensured the worldwide dissemination of ideas, in a similar way to the Bauhaus. Young men and women flowed in from Europe, North and South America, Great Britain, and Japan to the Swabian province, to the fount of a presumed knowledge which was there to be gained. All of them took this program back with them to their own countries.?
(Margit Weinberg Staber, former HfG student)
HfG大事记
Teaching structure for the Ulm School of Design, 1951
Foundation Course
Town planning, Information, Architecture, Product form, Visual design
Sociology, Economics, Politics, Psychology, Philosophy
April 1. Max Bill becomes the first rector of the HfG Ulm.
April 29. The state budget for Baden-Württemberg is passed by a plenum of the regional parliament. It approves 800,000 Deutschmarks for the HfG’s running costs for the next three years.
August 03. Classes begin with a basic course taught by Walter Peterhans.
September 08. Building work begins on the grounds at the Oberer Kuhberg.
Poster, 1954
July 5. Topping-out ceremony for the new building
July 31. Celebrations for the 1,100th anniversary of the city of Ulm. Otl Aicher and HfG students design posters and printed material.
?spiel gut? exhibition at Ulm Museum
HfG building, 1955
First classes take place in the building at the Oberer Kuhberg.
July. Baden-Württemberg state exhibition in Stuttgart. The Pavilion of the City of Ulm is designed by Max Bill, Otl Aicher, and Friedrich Vordemberge-Gildewart.
August. German Radio, Television, and Phonographic Fair in Düsseldorf: the Braun company causes a sensation with its modern phonographic equipment, especially the ?Snow White’s coffin? model. These were designed at the HfG under the direction of Hans Gugelot.
October 2. Official dedication of HfG building on the Oberer Kuhberg. Walter Gropius holds the inaugural address. Exhibition of HfG products in the new building.
March. Max Bill resigns as rector of the HfG. The board of governors, consisting of Otl Aicher, Tomás Maldonado, Hans Gugelot, and Friedrich Vordemberge-Gildewart, takes over the running of the school.
Ulm stool, 1955
Max Bill leaves the HfG as a result of irreconcilable differences of opinion regarding the pedagogical structure and teaching program.
July 6. Interbau opens in Berlin. The HfG furnishes two show apartments in Berlin under the supervision of Hans Gugelot.
SK 4, 1956
July. Braun wins the Grand prix at the XI Milan Triennale for eight products; Hans Gugelot and Otl Aicher are significantly involved in the design.
October. Werkbund conference of the SWB and DWB Baden-Württemberg.
October. First issue of the HfG magazine ulm.
Internal exhibition, held in the refectory of the HfG building, to mark the school’s fifth anniversary.
A brochure appears, Presenting the HfG.
1958. Exhibition
First radio and TV programs about the HfG.
July.HfG exhibition at the Milan Triennale.
Organization and development of a Film Section within the Visual Communication Department. HfG lecturers give talks at the World Congress for Design in Tokyo.
Roughly 12% of students are women.
Roughly 40% of students are non-German.
First issue of the student magazine ?output.?
Specialization of the Foundation Course.
The Culture Prize of the Federation of German Industries is awarded to Hans Roericht for his final-year project, ?hotel tableware design.?
TC 100, 1959
A new HfG constitution comes into effect. The board of governors is replaced by a single rector, Otl Aicher.
Students' housing, 1961
Exhibition poster, 1963
HfG touring exhibition held in Stuttgart and Ulm.
Catalogue of a Touring Exhibition is published.
The film/television sector is extended.
March. Vehement attacks on the school in the press. The state legislature presents a 10-point ultimatum threatening to cut the school’s subsidies. The school complies with the stipulations.
The brochure Information 63 is published.
The touring exhibition opens in the Neue Sammlung Munich.
Posters ?paix et amitie,? 1964
The HfG touring exhibition opens in the Stedelijk Museum, Amsterdam.
Nappe surfaces orientated on a grid Walter Zeischegg 1963-65
Two former HfG students present a new type of automobile, the ?autonova fam,? at the IAA in Frankfurt, 1966. The Geschwister-Scholl-Stiftung is deeply in debt.
?Autonova fam,? 1966
Otl Aicher relocates his development activities to Munich. Work begins on the corporate identity for the 1972 Munich Olympics.
The Film Department becomes the independent Institute for Film Design.
The regional parliament demands that the HfG is integrated into the engineering school. National subsidies are abolished. The financial situation becomes untenable.
Stackable ashtray, 1967
October. The HfG lecturers refuse to work their regular timetables, claiming that financial and personnel preconditions have not been fulfilled. The rector announces that there are insufficient staff and resources to allow teaching to begin in accordance with the regulations.
November. The cabinet of the state legislature decides to end all subsidies to the HfG. The school consequently ceases to operate.
范文四:谈德国乌尔姆造型学院的设计教育思想_112029
谈德国乌尔姆造型学院的设计教育思想
内容摘要:乌尔姆造型学院是20世纪五六十年代世界上影响最大的设计学校,是继包豪斯之后世界艺术设计教育史上的又一个里程碑。它奠定了艺术设计更多的和科学相联系的基础,为艺术设计广泛地介入工业生产开辟了道路。
关 键 词:乌尔姆造型学院 工业设计 系统设计思想
一、乌尔姆造型学院的成立
”二战“结束时的德国政局混乱,经济崩溃,并被割裂为东、西两个国家。而西德的经济很快就复苏了,并进入了西方发达资本主义国家的行列,这在很大程度上要归功于对外贸易的迅速发展。正如第一任总理康拉德?阿登纳在1962年10月发表的政策声明中说:“没有传统的出口,我们就不能生存”。因此,”二战“后的联邦德国延续了战前的传统,继续以产品出口作为经济发展的主导。到上世纪50年代末期,所谓“出口带来繁荣”的年代开始了,从此德国开始大量出口商品。随着德国经济的复兴以及出口工业产品的增加,工业界重新感到对艺术设计师的迫切需要。50年代初,许多大型企业设立了艺术设计局。西德政府也于1949年成立了国家设计委员会(Rat fuer Formgebung),通过国家政府来促进工业设计。与此同时,许多高校也办起了艺术设计专业。
1953年,在西德乌尔姆市按照包豪斯的精神重新建立了著名的乌尔姆造型学院,这是20世纪五六十年代世界上影响最大的设计学校,是世界艺术设计教育史上的又一个里程碑。这个学校最初的奠基人是英格?淑尔(Inge Scholl)。她创办这所学校的目的是为了纪念她在”二战”中牺牲的兄弟姐妹们,他们都是反战组织“白玫瑰”的成员。学校最初设立了社会学、传媒和政治学等专业。其教育理念就是,消除被英格?淑尔称为灾难性的“技术文明”和德国文化之间由来已久的对抗,应该以“和平和自由的精神”来倡导一种反法西斯的欧洲文化。
乌尔姆造型学院的第一任校长马克斯?比尔是瑞士著名艺术家和艺术设计师,曾是包豪斯学生。比尔对淑尔建议,应该把学校办成一所艺术、建筑和设计学院。他认为,通过对城市规划、建筑和日常生活用品等设计的改善,可以改变人们对社会的看法。因此,比尔为设计师们确立的主要任务就是把日常生活用品设计成一种“文化产品”。设计师们应努力追求赋予产品以更多的人文性和艺术性,而不是以一种商业目的来提高设计的价值。
但是,比尔和以马尔多纳多为首的年轻教师之间逐渐产生了分歧。两人分歧的焦点是:艺术设计究竟以艺术为基础,还是以科学技术为基础,比尔持第一种观点,然而,乌尔姆学校所处的时代与包豪斯时代已有很大不同。随着科学技术的加速发展,工业化和自动化程度提高,技术分工日趋细密,对大量内部结构复杂、需要专门科学知识的工业产品的设计提出
了需求。这样,以马尔多纳多为首的教师反对比尔制定的教学大纲。1956年底,比尔离开学校。
二、高度理性的系统设计教育思想的形成
工业设计在战后一个重要的发展是它在科学性方面的发展。在工业自动化和技术专门化的时代,一些大型企业在解决设计任务时不吸收艺术设计师参加,这主要是因为艺术设计师缺乏专门的技术知识。马尔多纳多认为,艺术设计学校应对这种状况负责,他主张新型的艺术设计学校应以最新的科学技术成就武装自己,培养有能力从事技术复杂的产品设计的艺术设计师。
第二任校长马尔多纳多出生在阿根廷,1938—1942年在布宜诺斯艾利斯美术学院学习,40年代末期在瑞士研究哲学和逻辑学。他宣称,乌尔姆学校的目的是对技术文明的人文主义掌握,而人文主义只能在科学的基础上确立。这样,在他的领导下,乌尔姆设计学院成为一个基本上是工科学院的设计学校,学生也都是工科性质的。
乌尔姆学校在1964年完全放弃了家具、纺织品、玻璃制品、陶瓷、墙纸、书籍装帧等传统领域的艺术设计教学,而把注意力集中在技术复杂的工业产品上。在解决问题的过程中,形成了“产品复杂性理论”。各种产品——从匙子到直升飞机和计算机,在复杂性程度上处于不同的水准。“产品复杂性理论”的基础是莫尔关于控制论和信息论的著作。莫尔还把“结构复杂性”和“功能复杂性”的概念应用到艺术设计领域中来。马尔多纳多则在信息论、实验美学和活动理论的背景中研究艺术设计和科学的联系。他主张,在艺术设计实践中必须广泛利用一些数学学科,如集合论(解决统一部件的机床组合化问题)、多面体几何(规则形状和不规则形状的设计)、群论(对称和控制理论)、拓扑学(客体的度量和非度量结构)等。
系统设计是学校在这个时代的一个重要发展,并对许多国家产生了影响。系统概念在工业设计中有三层含义:第一,系统概念被用于工业设计后,人们不再把设计对象看成是孤立的东西,而是把它放在系统中看待,使功能设计不仅局限于单一的设计对象,而且要考虑它与其他环境因素之间的关系。例如组合柜要考虑各个组成部分之间的位置关系和组合关系,成套家具要考虑座椅、桌子、床等的形式和色彩和谐。还要考虑到系统环境与人的整体需要,例如从厨房系统角度来设计它的各部分,以此类推来设计卧室系统、办公室系统、通讯设备、大众消费系统等等。这样它导致了产品系统概念。第二,从系统概念出发,单件家具和工具也被看成是一个系统,把它们设计成组合部件,容易安装和拆卸。第三,考虑物体之间的位置关系,例如,设计单一杯子时,往往不会考虑杯子之间的关系。而系统设计提醒设计师要考虑它们怎么摞放在一起,怎么包装存放等问题。系统概念导致了许多设计创新。例如学校创造了第一个组合音响设备、组合柜、工具箱等等。系统设计方法也被用于单一商品设计,例如可装卸式沙发,它由六个部件组成:支架、垫板、扶手、背垫、靠头和坐垫。
1968年,由于种种原因,乌尔姆学校被关闭了。它仅仅存在了13年,几乎和包豪斯存在的时间同样短促,然而它也像包豪斯一样,产生了难以磨灭的影响。因为它开创了一种新的艺术设计模式。如果说包豪斯是艺术设计中的艺术流派,那么,乌尔姆学校则是艺术设计中的科学流派。乌尔姆学校的历史功绩在于详细地研究了艺术设计和科学的联系,在艺术设计教育中强调了技术教育的重要性,证实了培养掌握科学知识的艺术设计师的可能性,为艺术设计广泛地介入工业生产开辟了道路。
参考文献:
[1]丁建弘《德国通史》上海:上海社会科学院出版社2002年版,第418页
[2]Jeannine Fiedler, Peter Feierabend: Bauhaus, Koenemann, 1999,P74
[3]凌继尧、徐恒醇《艺术设计学》 上海:上海人民出版社2000年版,第143页
[4]董占军《外国设计艺术文献选编》济南:山东教育出版社2002年版,第123页
范文五:谈德国乌尔姆造型学院的设计教育思想
? ? ? ?谈德国乌尔?姆造型学院?的设计教育?思想
内容? 摘要:
? 乌尔?姆造型学院?是20五六十年代世纪??世界上 影?响 最大的?设计学校,?是继包豪斯?之后世界 ?艺术 设计? 教育 史?上的又一个?里程碑。它?奠定了艺术?设计更多的?和 科学 ?相联系的基?础,为艺术?设计广泛地?介入 工业? 生产开辟?了道路。 ?
关? 键 词:?
乌?尔姆造型学?院 工业设?计 系统设?计思想
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? 一、乌尔?姆造型学院?的成立 ?”二战“结?束时的德国?政局混乱,? 经济 崩?溃,并被割?裂为东、西?两个国家。?而西德的经?济很快就复?苏了,并进?入了西方发?达资本主义?国家的行列?,这在很大?程度上要归?功于对外贸?易的迅速 ?发展 。正?如第一任总?理康拉德??阿登纳在1?962年1?0月发表的?政策声明中?说:
? “没有传?统的出口,?我们就不能?生存”。因?此,”二战?“后的联邦?德国延续了?战前的传统?,继续以产?品出口作为?经济发展的?主导。到上?世纪50年?代末期,所?谓“出口带?来繁荣”的?年代开始了?,从此德国?开始大量出?口商品。随?着德国经济?的复兴以及?出口工业产?品的增加,?工业界重新?感到对艺术?设计师的迫?切需要。5?0年代初,?许多大型 ?企业 设立?了艺术设计?局。西德政?府也于19?49年成立?了国家设计?委员会(R?at fu?er Fo?rmgeb?ung),?通过国家政?府来促进工?业设计。与?此同时,许?多高校也办?起了艺术设?计专业。 ?
?1953年?,在西德乌?尔姆市按照?包豪斯的精?神重新建立?了着名的乌?尔姆造型学?院,这是2?0世纪五六?十年代世界?上影响最大?的设计学校?,是世界艺?术设计教育?史上的又一?个里程碑。?这个学校最?初的奠基人?是英格?淑?尔(Ing?e Sch?oll)。?她创办这所?学校的目的?是为了纪念?她在”二战?”中牺牲的?兄弟姐妹们?,他们都是?反战组织“?白玫瑰”的?成员。学校?最初设立了? 社会 学?、传媒和 ?政治 学等?专业。其教?育理念就是?,消除被英?格?淑尔称?为灾难性的?“技术文明?”和德国文?化之间由来?已久的对抗?,应该以“?和平和自由?的精神”来?倡导一种反?法西斯的欧?洲文化。 ?
?乌尔姆造型?学院的第一?任校长马克?斯?比尔是?瑞士着名艺?术家和艺术?设计师,曾?是包豪斯学?生。比尔对?淑尔建议,?应该把学校?办成一所艺?术、建筑和?设计学院。?他认为,通?过对城市规?划、建筑和?日常生活用?品等设计的?改善,可以?改变人们对?社会的看法?。因此,比?尔为设计师?们确立的主?要任务就是?把日常生活?用品设计成?一种“文化?产品”。设?计师们应努?力追求赋予?产品以更多?的人文性和?艺术性,而?不是以一种?商业目的来?提高设计的?价值。
? 但?是,比尔和?以马尔多纳?多为首的年?轻教师之间?逐渐产生了?分歧。两人?分歧的焦点?是:
? 艺术设计?究竟以艺术?为基础,还?是以科学技?术为基础,?比尔持第一?种观点,然?而,乌尔姆?学校所处的? 时代 与?包豪斯时代?已有很大不?同。随着科?学技术的加?速发展,工?业化和自动?化程度提高?,技术分工?日趋细密,?对大量内部?结构复杂、?需要专门科?学知识的工?业产品的设?计提出了需?求。这样,?以马尔多纳?多为首的教?师反对比尔?制定的教学?大纲。19?56年底,?比尔离开学?校。
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? 二、高度?理性的系统?设计教育思?想的形成 ? 工业设计?在战后一个?重要的发展?是它在科学?性方面的发?展。在工业?自动化和技?术专门化的?时代,一些?大型企业在?解决设计任?务时不吸收?艺术设计师?参加,这主?要是因为艺?术设计师缺?乏专门的技?术知识。马?尔多纳多认?为,艺术设?计学校应对?这种状况负?责,他主张?新型的艺术?设计学校应?以最新的科?学技术成就?武装自己,?培养有能力?从事技术复?杂的产品设?计的艺术设?计师。
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