The Valorised Designer

Because of the development of technology in the past couple of decades, designers now create and research everything by using the computer. The division between academic and creative work has pretty much disappeared, which has led to discussions and models based on how designers of today define the relationship between practical and theoretical work within their practice.

Whiteley continues on by discussing two models: the collapse model and the continuum model. The collapse model is the distinction between theory and practice, and how it collapsed and they now go hand in hand. The continuum model is the theory and practice exist on the same spectrum. They overlap in the middle, but exist separately on either end of the spectrum.

Then Whiteley describes five educational models that he himself observed over the years as an educator. The first is the formalised designer and in this model the academic study is considered to be a distraction from designing. The second is the theorised designer, which is "no distinction is made between those studying cultural theory degrees and the design students." The next is the politicised designer, which is the model has developed from Russian Constructivism and Productivism. It holds a black versus white perspective. The fourth designer is the consumerised designer, the primary concern in this model is to prepare students to work in a business or industry and to develop important skills and ignore the role of a designer as someone who is influential over environment, social , moral or personal influences. The final designer is the technologised designer, which relates to the development of technology and it assumes that "the most up-to-date technology must, by definition, offer a better or more relevant solution than its predecessors."

The valorised designer, Whiteley adds, are the "independently-minded, creative, constructive designers who are not just 'capitalist lackeys', ideologues, or 'technical whiz-kids'. but who bring understanding, flair, sensitivity and a social conscience to their task… the academy's responsibility is to society as a whole, not just the company who directly employs the designer."

In the end Whiteley states that "the new academy of the twenty first century must ensure that design students receive a true education, and not a narrow training…" In saying so, he believes design students should have a more than just a broad and general education. They should explore all fields of design, which in the end would help them decide what field they would be better off with.