Abstract:

The growth in the area of design in Brazil has required a careful investigation on issues of teaching and teaching practices required. The emphasis on projective activities has not been enough for the training required for the student in a field characterized by multidisciplinarity, which converge to the contributions of several other areas of knowledge.

In this scenario, the History of Design has been neglecting his supporting role - just as content to illustrate the structure and formation of the student assumed the role of discipline-forming repertoire and analytical basis for further discussions of the course, present in other content including within the projective practices.

History of Design, though covering a relatively short period of time (classical studies put the period from the mid-nineteenth century), has the same limitations inherent in history in general - the impossibility of knowing all the reality of man and his action in time and space, there are points of view, biases, and ways to approach that both the historian's perspective as the teacher himself. As stated by DENIS (2000, p.) “The act of writing history necessarily involves a process of selection of facts and evaluation of its importance ... Every version is a historic building and therefore none is definitive.” A building that is not designed only for those who write history, but also by those who minister in the classroom.

This paper describes a teaching experience and pedagogical discipline developed since 2004 in History and Critical Analysis of Art and Design courses at the School of Design UEMG (Universidade do Estado de Minas Gerais), Brazil. It is the creation of strategies that enable the minimization of losses resulting from the adoption of a single viewpoint in the teaching of History of Design as well as explore the greater involvement of teaching staff with all classes and value individual skills in benefit of the discipline as a whole.

The paper puts the issue of design education in Brazil, highlights the importance of specific historical studies, points out the difficulties and obstacles in its development, and presents and describes the didactic and pedagogical strategies implemented by the team of teachers of the discipline History and Critical Analysis of Art and Design.

It should be noted that since 2011, other groups content of the courses of the School of Design, as the block of Materials and Production Processes, and the block of Market Studies, have been created in order to deploy a similar strategy by understanding their potential contribution to the course.

Keywords:

Design history, undergraduate teaching, design education.