ブックタイトル桑沢デザイン研究所 教員研修会 研究レポート No.45 2017

概要

桑沢デザイン研究所 教員研修会 研究レポート No.45 2017

6 Questions for Asuka Kawabata1 )It was not for the first time that the Kuwasawa DesignSchool was a guest at the Bauhaus Dessau. Duringyour last visit the preliminary course of Josef Alberswith his material lessons played a vital role. To whichtopic did you dedicate yourselves this time?Last time, we explored the potential of the shapewith a sheet of paper as our material. This time wedealt with the relationship of colour and shape withthe students.2 )Are the form and colour lessons of Wassily Kandinsky,then integral to the classes at the Bauhaus, stillrelevant for designing processes in the 21st century?Yes, form and colour have always been at the core ofdesign practice in the analogue as well as in the digitalera.3 )Today designing mostly relies on 2D and 3Ddrawings and modelling on computers. Are classicmaterial lessons still part of the curriculum atKuwasawa Design School?During our preliminary course we encourage studentsto design with their hands. One of the typical exercisesis called“hand sculpture”. Students have tocarve a shape out of a block of wood which exactlyfits their hand. For doing so, they have to figure outthe shape by exploring the material with their hands,not with their eyes.4 )Kandinsky was not only a painter, he also createdabstract stage compositions, among them e.g. the,as he called it, romantic stage play Violet, which wasstaged at the theatre in Dessau in 1927. As the finaltask of the studio your students were asked tore-stage a scene from Violet drawing on their newlygainedknowledge. How important is it for thestudents to make excursions like that into otherdisciplines?5 )As mentioned before, you have been at the Bauhausbefore. How did this connection of the Bauhaus andKuwasawa Design School come about?The founder of our school, Ms. Yoko Kuwasawa, wasdeeply inspired by the Bauhaus’s education systemwhen she founded our school. Consequently, wehave a yearlong compulsory preliminary course,which is a very rare class to have at Japanese designschools, colleges or universities at the moment.Since its foundation in 1954, our school has alwaysmaintained a strong connection with the educationalphilosophy of the Bauhaus, and we proudly displaythe photo of Walter Gropius visiting KDS at theentrance of our school building.6 )What was it like to live in Dessau, at the Bauhaus?What did your students take home with them?As Dessau is so far away and its culture so very differentfrom Japan’s, most of the Kuwasawa studentsat first did not consider the Bauhaus to be a part oftheir reality. But after visiting the Bauhaus Buildingand studying like a Bauhaus student, our studentsnow regard the Bauhaus as real and they feel thatthere are not many fundamental differences betweennow and then and Japan and Germany, regardless oftime and distance.Japanese students are well-known for their shynessand it is really difficult to do experimental andabstract exercises with them in our classrooms inTokyo. However, because of being in Europe andbeing out of their every-day life (for some students, itwas the first trip abroad), it became easier for them toexpress their feelings freely in drawings and coloursand with their bodies. Throughout the programme,students had to use their hands and bodies a lot todesign and think with. Also uncontrolled, unexpectedand accidental outcomes were expressly welcomed.All the students must have encountered surprisingnew ways of seeing colours and forms through thenumerous exercises of the programme. The BauhausOpen Studio programme provided challenging integratedlearning experiences to our students, whichare hard to experience in a busy, small classroom inTokyo.It is very hard to feel yourself into an“abstract environment”but I believe, this Violet experience gavethem a new concept of what abstraction is. I think thiswill have great influence on their creativity.p.12:川畑明日佳先生への質問10