创意实践作为研究:新西兰通信设计专业本科生实践主导项目

Marcos Mortensen Steagall, Fiona Grieve
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引用次数: 0

摘要

在过去的三十年里,设计师在大学中采取了实践者——研究者的创新立场,通过他们的创作实践进行学术研究。许多学者承认并讨论了通过创造性手段进行交流的意愿。这些努力一直是平面设计学习和教学的一部分,但如何在本科阶段的大学机构中进行以实践为主导的研究还需要进一步的研究。这篇文章提供了五位设计实践者的见解,他们在新西兰奥克兰的奥克兰理工大学的学术实践中开展研究项目。这些本科生在视觉传达设计的广阔领域进行创造性实践研究。这些新的从业者/研究人员对学术空间感到深刻和未解决的紧张,对他们来说,传统的研究方法似乎过于有序,无法捕捉探究过程的活力,而这正是他们创造性实践的核心。他们寻求一种方法,可以提供高水平的跨学科性,并专注于技能和能力,以产生对社会材料迭代设计过程的见解。本文介绍了五个项目,并对实践进行了评论,这些项目是在年轻设计师面临的复杂问题的背景下进行的,以及他们对与实践和研究相关的设计工作的理解。这篇文章有助于推动高等设计教育的转变,将创造性实践作为一种研究方法,促进社会和文化,而不是工业驱动的设计。在这个范围内工作时,设想一些论点和推论将适用于Aotearoa以外的其他创造性实践、从业者和研究人员。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Creative practice as research: an undergraduate practice-led project in Communication Design in New Zealand
In the past three decades, designers have adopted an innovative position as practitioner- researchers in universities by conducting academic research through their creative practice. Many scholars have acknowledged and discussed the will to communicate through creative means. Such endeavours have always been part of the learning and teaching in Graphic Design but how practice-led research sits within university institutions at the undergraduate level requires further investigation. This article offers insights into five design practitioners developing research projects led by the practice, of academics at Auckland University of Technology, in Auckland, New Zealand. These undergraduate candidates are undertaking research by creative practice in the broad field of Visual Communication Design. These new practitioners/researchers to the academic space feel profound and unsettled tensions, for whom traditional research approaches seem too ordered to capture the dynamism of the inquiry process, which lies at the heart of their creative practice. They seek an approach that can offer high levels of interdisciplinarity and focus on skill and competence to produce insights into a socio-material iterative design process. The article presents, with a commentary on practice, five projects operating in the context of complex problems young designers face and their understanding of the design work as it relates to practice and research. The article contributes to advancing a shift in higher design education towards creative practice as an approach to research, promoting the social and the cultural rather than design that is industrially driven. While working within this scope, it is envisaged that some arguments and inferences will have applicability beyond the Aotearoa and for other creative practices, practitioners and researchers.
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