융복합 디자인교육을 위한 디자인학의 의제

Abstract

(Background and Purpose) Since the Industrial Revolution, design culture has evolved based on mechanical aesthetics, with human life developing amidst an abundance of advanced artifacts. However, this abundance has been excessively produced and consumed from a mechanistic perspective without seeking ontological considerations for the designed artifacts. This problem of awareness of modern design culture stems from the complex causal relationship between capitalist consumption systems and society. The ability to interpret the deep meaning of the design environment beyond a perspective centered on appearance is required, and this is also deeply connected to the paradigm shift in design education. This study proposes a conceptual framework for convergent design education and establishes a theoretical foundation for future empirical research. (Method) This study explores the theoretical scope of design studies within convergence education, using an interdisciplinary approach. Because this is a broad topic, the discursive context of design connected to social and philosophical discussions is limited to the central scope. In particular, to philosophically critique design culture, critical tools from sociology, aesthetics, and the philosophy of technology are utilized to expand theoretical boundaries. Furthermore, a critical theoretical framework is employed to analyze the role of design studies as an interdisciplinary field of convergence. (Results) The foundation for positioning design as a discipline in convergence-based education lies in fostering students' "critical capacities." It is necessary to understand the design phenomenon as a ‘field of discourse’ arising in various social and cultural situations and viewed as texts open to interpretation from various angles. This approach shapes attitudes toward the market systems producing artifacts and encourages evaluation through a universal value scale of design. Ultimately, convergence-based design education promotes grounding in foundational disciplines while emphasizing methodological diversity, openness, and adaptability. (Conclusion) Design education should expand from simple consumer goods to function as an interdisciplinary tool for promoting critical thinking. This enables students living as beings who critically view, judge, and practice a vibrant reality outside the university fence to ultimately reach the implications of convergent education. This is closely linked to the role of convergent design, and provides a theoretical foundation for students to deepen their critical thinking skills and uniquely construct their own objects and spatial systems. It is expected that convergent education through the humanities foundation of design studies in the future can redefine the publicness of design and restore its social function.