Abstract

Criticisms of design education suggest that educational practices have failed to produce competent designers and, concurrently, failed to allow for participation in culture. These criticisms manifest themselves in questions of design methodology and in issues of race, class, and gender equity in both educational and professional practices; however, they have not engaged design education from the standpoint of educational philosophy. This dissertation begins a philosophical inquiry of those criticisms of design education by critically constructing a history and philosophy of design and design education. This construction suggests that design is, at a very basic level, analogous to the processes and practices associated with making. Resultantly, this work explores three ways of making—artistry, workmanship, and craftsmanship —whose beliefs and practices are beneficial in understanding how educators might think about and teach design. This exploration of ways of making engages the work of educational philosophers as a means of coming to terms with criticisms of design education. Building from Jane Roland Martin’s project of cultural bookkeeping, this dissertation theorizes a taking account of ways of making that can influence how we understand design. Taking account allows for the identification of assets and liabilities that impact design education and, once identified, can be fostered or eliminated in educational practice. Taking account requires a methodological strategy that can identify those assets and liabilities associated with education in design. As practices in education both shape and are shaped by culture, this work engages critical theories that have been applied to other cultural practices. This dissertation has adapted, associated, and applied approaches by feminist scholars. It has engaged the writings of African-American educators and critical race theory when exploring the educational practices that characterize African-American education in the South. The perceived liabilities of vocational education emerge from an exploration of the works of educational theorists. In re-conceptualizing Vitruvius’ de Architectura as a treatise concerning the educational value of craftsmanship, this dissertation theorizes that his call for utility, durability, and beauty is a statement of the necessity of the designer—the architectus—to make judgements. This ability to make judgements—judgements that require the knowledge of epistêmê and the “know-how” of technê —is the most essential skill of the designer if she is to attain the height of her profession; if she is to produce useful physical artifacts that assist in mediating human relationships with and in the world. Further, making judgements can be applied to other educational practices that require creative and critical outcomes —it can be applied to practices in both design and general education. The ability to make judgments and the ability to recognize and accept that knowledge is not limited to the epistemic is a result of an education in craftsmanship. The educational value of craftsmanship is an educational theory that should provoke conversations among a variety of educational agents and, resultantly, lead to new areas of exploration in design education and in more general educational practices.