Training in schools of design ten years after the Bologna Declaration. The pivotal role of design. Ten years after the Bologna Declaration. On June 19, 1999 the Council of Ministers of Education of 29 EU countries signed a half-page document known as the Bologna Declaration. The impact was enormous. In fact it was the first proposal to create a European higher education system based on the British model. The document marked the beginning of a new stage of European integration, defining the guidelines and boundaries of a higher educational space which was to be created before 2010 and whose objective was to increase international competitiveness. To achieve this goal national and international university systems had to be harmonised; while respecting each country’s provisions, they had to be brought in line with the main points outlined in the Declaration which was implemented and further refined by later Conferences of European Ministers Responsible for Higher Education. In the reform process, academic sectors are considered as receptor organisms which apart from being sensitive to social change should promote the latter through suitable training programmes. The European dimension of Higher Education is based on harmonised and transparent objectives and concepts that include comparable degrees, the recognition of training courses to achieve quality education, the ability to attract students from non-EU countries as well as protect economic and social growth in Europe. Legislative changes have been repeatedly introduced in Italian universities to respect the new basic higher education framework; these changes include new study courses, the introduction of a European credit system and greater mobility for students and graduates. In the last ten years the reform process has involved faculties, departments and degree courses. Convinced that the contribution of the Academy was fundamental to boost the mobility of students and teachers ensuing from the transparency of the educational profiles, the “Dublin Descriptors” were adopted in order to effectively ensure harmonisation based on standardised credits and qualifications. Transversal peculiarities of design in a multicultural environment In this new scenario of Higher Education, the peculiarities of training in the field of Industrial Design are of particular interest. In recent years, all productive sectors have undergone radical changes in their design methods; products are characterised by unusual and difficult to classify typologies and technologies. This fluid identity of artefacts caused by the contamination of styles, complex cultural mixes and the use of innovative materials, is the result of a transversal culture of a multicultural environment. The project brings together different elements of techniques, morphologies and behaviour determined by flexible creative processes in fields that can be very different in nature. As a result, contemporary products are based on design methods that are very different from twentieth-century research on standardisation: they focus more on mutation and the assembly and disassembly of stylistic elements borrowed from different fields of learning and industry: the arts, architecture, science, biology… The disarticulation of the syntaxes and their recomposition facilitated by computerisation are intrinsic to the contemporary design process in which the results may be defined as hybrid. The vast repertoire of continuously proliferating objects is the result of morphological and functional “grafts”, a mix of social and economic components inspired by new lifestyles and behavioural patterns which give rise to continuous evolutionary jumps. This widespread situation influences the training courses of European schools of design. Art and Design. A panoroma of European schools Apart from different aspects of design (graphics, fashion, textile, product), the disciplinary area 03 includes dramatic art, fine arts, music, photography, cinematography and history of art. European education in this field, albeit within the framework of each specific cultural context, contains all aspects of the project; in the broadest sense of the word as a process of correlated activities to create products, and in the narrowest etymological sense as “projection”. A Project can be defined as a sort of transversal system that receives different inputs which then uses innovation to condense those inputs into artefacts that are increasingly difficult to classify; artefacts that are a mix of design and art, but have been influenced by many other fields of learning. The project can therefore be adopted as a tool with which to revive the relationship between didactics and research, even in the international arena, with a view to implement interconnection and multiculturalism.
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|Titolo:||Training in schools of design ten years after the Bologna Declaration.|
|Data di pubblicazione:||2009|
|Appartiene alla tipologia:||04d Abstract in atti di convegno|