包豪斯设计教育改革的现实意义

包豪斯成立至今已有整整一百年的历史,在艺术设计教育亟需改革的中国现实语境下,重新审视包豪斯在艺术教育改革方面的意义与价值显得非常必要.从教育改革的角度梳理包豪斯的教育理念、教学方法、课程设置及教学效果等,以期为中国现代设计教育改革提供一些新的思路.     

从包豪斯看当代“构成”教学

包豪斯作为现代设计教育的发源地，在现代设计史上具有里程碑的意义。源于包豪斯基础教育体系之一的构成教学从上世纪80年代初引入我国，其科学的教学思路和方法对当时的设计教学起到了积极的推动作用。随着时代的发展，新材料、新技术、新观念不断涌现，社会对设计教育提出了新的要求，“三大构成”教学也面临着新的挑战。本文针对目前高校构成教学中普遍存在的教学观念陈旧等现象，对“构成”教学中存在的问题略述己见．以期共同探讨。     

误区与洞见——重温包豪斯精神

包豪斯,无论是作为一种实体存在还是作为一种精神理念,在世界现代建筑设计与艺术历史上都具有里程碑的意义.对包豪斯一直存在着形式主义和功能主义两个截然相对的评价和误解,实际上包豪斯的领导者对时代发展状况有着清醒的认识,他们强调从实用和大众需求出发,设计出契合时代的建筑与产品.直到今天如何理解和发展包豪斯精神仍是值得我们深思的问题.     

THE APPLICATION OF GESTALT METHODS FOR THE REDUCTION OF TEST ANXIETY IN STUDENTS

An experiment applying Gestalt methods to reduce test anxiety in students is described. Test anxiety is seen as a specific and relatively focused fear pattern. Viewed from a Gestalt therapy approach, anxiety is perceived as a process that affects the physiological, emotional, and intellectual components, as well as a non‐differentiative state between present and future.

It was hypothesised that test anxiety could be reduced if students were taught relaxation and other appropriate techniques. Volunteers were assigned to either an experimental or control group and measured “pre and post”, using Spielberger's State‐Trait Anxiety Inventory and a self‐report question. The results, which show a significant difference between the pre and post scores of the experimental group on the A‐State and self‐report scales, indicate that the Gestalt techniques applied were effective in reducing test anxiety.     

“包豪斯”与当今环境艺术设计教育

结合包豪斯的历史及其理论成就,分析了我国环境艺术设计教育的现状：存在着新兴的、综合性的学科与落后的、单一的教学模式之间的矛盾和较大的工作量与教师的职业精神丧失之间的矛盾。认为现有的课程设置和教学模式在继承包豪斯教学理论的深度、广度和执行的质量等方面存在缺陷。进而提出建立理论与实践相结合、教学与市场接轨的新的教学体系。     

包豪斯“车间”对当今艺术设计教育的启示——设计人才培养的实践环境营造

包豪斯作为一种设计体系在20世纪风靡全球。在现代许多设计中,包豪斯的思想和美学趣味可以说整整影响一代人。其中某些思想、观念对我国现代设计人才培养和实践技术教学有很大的启迪作用。     

Critical Perspectives on Colonisation of the Art Curriculum in Korea

This article examines some characteristics of art education in Korea. It takes the form of a historical overview using a postcolonial lens. The findings were that the predominant Western aesthetic concepts and theories as central culture embodied in Korean art education as local culture are: (i) ideas of art as self‐expression developed in Europe and the USA between the 1920s and 1950s; (ii) the concept of art in daily living in the USA in the 1930s; (iii) design elements and principles by Arthur Wesley Dow in the USA in the 1920s; (iv) Bauhaus design theory in Europe in the 1920s; and (v) the appreciation of nature beauty by John Ruskin in the late nineteenth century in England. These educational ideas have been influential on policy‐making in Korean art education, and therefore new concepts are integrated with these elements for curriculum changes. In this way, the characteristic of the colonised Korean art curriculum is so hybrid that it is difficult to understand the concepts and the practical implications of the various policies for art teaching. Consequently, it has not served the issues of cultural diversity and pluralism that are so problematic in twenty‐first century Korean society.     

尚未说透的包豪斯

对包豪斯的介绍和研究过去侧重于设计或工艺的角度。本文认为，如果仅从这一角度去研究，那就还没有真正把包豪斯说透。本文从不同角度论证了包豪斯之于现代艺术和现代艺术教育的巨大而深远的影响。     

Bridging the Gap: A Manual Primer into Design Computing in the Context of Basic Design Education

Design education is in need of a wider restructuring to accommodate new developments and paradigmatic shifts brought forth by the information age, all of which capitalise a move towards complexity theory, systems science and digital technologies. The intention of this article is to approach one particular aspect of this need: that is, how basic design education can be reconsidered to establish the arguably broken link between the ‘learning by doing’ tradition of a Bauhaus‐oriented basic design education with the computational and parametric logic necessitated by contemporary design technologies. The authors present the overall outlines of a basic design course as offered in Beykent University Department of Industrial Design in Istanbul, Turkey. The programme consists of a series of exercises grouped in five modules and two ‘binders’ that are structured to link the fundamental notions and operations of design thinking covered in basic design courses of the first year with the analytical and computational‐reasoning competencies that are developed mostly in the later years of design education.     

‘Being in the World’: The event of learning

This paper employs an eclectic mix of paradigms in order to discuss constituting characteristics of young children's learning experiences. Drawing upon a phenomenological perspective it examines learning as a form of ‘Being’ and as the result of learners’ engagement with the world in their own, unique, intentional manners. The learners’ intentions towards their world are expressed in everyday activity and participation. A social constructivist perspective is thus employed to present learning as situated in meaningful socio‐cultural contexts of the everyday, lived world and as a form of participation in those settings. These characteristics of learning are brought together into a holistic, synthesised model, a Gestalt of learning. The proposed synthesis has relevance for and is applicable to educational contexts as a means of making sense of children's learning experiences and of promoting and facilitating them.     

Using Gestalt theory to teach document design and graphics

Gestalt psychology principles of figure‐ground segregation, symmetry, closure, proximity, good continuation, and similarity provide a simple yet powerful analytic vocabulary for discussing page layout and graphics. The six principles apply readily to typography, white space, data tables and maps, the relation between graphics and text, and other facets of textual design. The principles explain many difficulties that readers have in processing texts and graphics, and they explain why well‐designed pages and graphics are effective.     

Learning about Colour – the Legacy of the Bauhaus Masters

Bauhaus, the German arts and crafts college, is 100 years old this year. One of the revolutionary features of its pedagogical programme was the methodology of teaching about colour, elaborated by Johannes Itten and Paul Klee, leading Bauhaus masters, and further developed by their disciples, Joseph Albers and György (George) Kepes. This methodological legacy is continued in a curriculum innovation experiment in art education that is currently being piloted in primary and secondary schools of Hungary. Developing colour perception, creation and communication are basic components of our curricular modules. In this article, we show the development of colour perception of 7,087 students in two age groups: 7–8.8 and 12–13.5 years, tested through arts‐based tasks in an interactive, online platform. Evolution of colour sensitivity, recognition of colour and form, colour memory and decoding the meaningof colours will be shown and the relevance of the results for arts education indicated.     

“You Have to Know Why”: The Influence of Different Curricula on Nursing Students' Perceptions of Nursing

The need in modern healthcare for professionals who are self‐directed and autonomous has increased in recent decades. Problem‐based learning is spreading in nursing education as one strategy for meeting these demands. This article deals with the relationship between the design and execution of nursing education curricula and students' understanding of nursing. The aim of the study was to examine nursing students' perceptions of nursing, comparing a problem‐based curriculum to a conventional curriculum. Students were asked to write narratives about nursing. Forty‐three narratives were analyzed using the phenomenological hermeneutic method. Differences between the two groups were found in terms of both structure and content. Problem‐based learning students stressed more the theoretical aspects of nursing. The study shows that educational design might be of great importance to how students understand nursing. Extensive research is needed to further explore the findings, especially related to clinical practice following graduation.     

在启示和反思中构想——关于艺术设计专业工作室教学模式的探索

距今80多年前在德国创立的包豪斯学院,其办学理念和教学模式的成就对世界教育的影响很大,特别在艺术教育的社会应用性方面影响尤为出突。今天,包豪斯一词已经成为社会急变下的艺术、产业和教育联合起来迎接挑战的态度和精神,这对我们来讲应该是有所启示的。通过对目前我们面临的教育几个层面的状况和问题的分析,探讨艺术设计专业教育的重点所在,同时针对工作室的建制、操作、管理以及工作室的运行等问题进行了构想。     

Child‐rearing and Parental ‘Intentions' in Postmodernity

This paper aims at revealing the various meanings of schools as more than built physical environments from a geographical‐phenomenological (or ‘geo‐phenomenological’) perspective. This paper consists of five sections: the first explicates the meaning of ‘geo‐phenomenology’; the second reveals the meaning of ‘environment’ and a dialectics of strangeness and intimacy through geo‐phenomenological analysis; the third examines the meanings of environment as ‘space’ and ‘place’ and the act of naming as the process of constructing meaning between humans and environment; the fourth section attempts to explore the meaning of conceiving school as a particular environment; and the final is the conclusion.     

Conversing with pedagogical agents: A phenomenological exploration of interacting with digital entities

In this paper, we examine the meaning of conversing with pedagogical agents. Previous research has focused on examining cause and effect relationships, failing to take into account the meaning of the experiences individuals have when holding a dialogue with conversational agents for educational purposes. To understand these experiences, we have conducted a phenomenological examination of what it means to converse with a pedagogical agent. In phenomenological terms, findings suggest the experience is complex, engrossing, virtual yet real, human‐like, and social. Implications for the future design, implementation, and research of conversational agents in educational and other settings are discussed.     

Element‐and‐Principles Instruction,Perceptual Drawing and Paul Klee's Pedagogical Sketchbook

This study examines the key concepts of elements‐and‐principles art instruction, as defined in the publications by Vorkurs (preliminary course) instructors at the Bauhaus. Elements‐and‐principles instruction was for decades central to formalist art training, and continues to play a role, albeit limited, today. Preceding accounts of the elements‐and‐principles have not considered contextual matters worthy of attention, specifically, two other instructional frameworks. One is perceptual drawing that dominated in Western art culture before the inception of the elements‐and‐principles approach. The second is the instructional model Paul Klee proposed in his well‐known but under‐examined instructional publication of 1925, Pedagogical Sketchbook. With regard to the latter, scholars have failed to undertake detailed analysis that would explain Klee's instructional model and, in particular, its central (and idiosyncratic) concept of ‘trichotomy’. Trichotomy is a structure rather than a formal element, providing visual equivalents for extra‐visual events. The peculiarity of trichotomy and related concepts in Pedagogical Sketchbook has kept the publication a faint presence in elements‐and‐principles instruction and in related scholarly inquiry. With a more precise presentation of Klee's pedagogical focus, this study distinguishes heretofore overlooked dissimilarities between the Pedagogical Sketchbook model and elements‐and‐principles approach, and enables recognition of affinities between Klee's model and current conversations about embodiment pedagogies in visual arts education.     

视觉传达设计中的格式塔原理

以格式塔心理学为理论依据,以大量的作品实例,阐释视觉传达设计中的图-底关系、完形原理、错视原理和异质同构原理,对视觉传达设计中图形的结构、张力的形成、及其心理机制进行分析探讨,以提高作品的视觉冲击力和审美效应,并对视觉传达设计运用格式塔原理需要注意的问题做了简要的论述。     

A strengthened teaching mission in preschool: teachers' experiences,beliefs and strategies

This paper aimed to explore how preschool teachers' experience their strengthened teaching mission, specifically when working with scientific exploration. The study was based on the philosophy of the life-world, a branch of the phenomenological movement. Life-world philosophy focuses on the concrete reality humans inhabit and is responsive to its inherent ambiguity. The data consisted of written teacher responses and follow-up interviews. The findings showed a broad and multidimensional way of working with science and exploration in which embodied experiences and intertwined relationships were prominent. Teachers' notions of what constitutes scientific exploration and learning represent a combination of science as literacy and science as inquiry, emphasising democracy, aesthetics, experimentation and reflection. Being present and focusing children's relationship with the phenomena seem to be teachers' strategies of handling their strengthened teaching mission.     

ARBEIDSMETODE OG ELEVREAKSJON

Keogh, Barbara K. &; Vormeland, O. (1970). Performance of Norwegian Children on the Bender Gestalt and Draw‐a‐Person Tests. Scand. J. Educ. Res. 14, 105‐111. This study provides tentative norms for evaluating the performance of Norwegian children, ages six through nine, in a group administered Bender Gestalt and Draw‐a‐Person tests. Results are based on drawings of 265 Oslo school children. DAP scaled score means were slightly lower than the standardization mean, and, in general, girls were favored over boys. No sex differences in Bender performance were found. Bender results provide objective normative values, for age groups as well for patterns of change with age, which arc useful in making clinical and educational interpretations. Scores under group administration were somewhat higher (poorer) than scores obtained under individual administration conditions. Consistency of findings for Norwegian, English, and American children suggests that the Bender is relatively unaffected by specific cultural differences, at least in Western countries.