To better prepare students for architecture and design projects, the Design Section of the Department of Architecture, NUS, has been imparting fundamentals on basic design since 2002. Undergraduates in design and architecture schools study the fundamentals of design during their first year, based on the teaching developed in the great design schools of the 20th century, such as the Bauhaus, the Vhutemas, the School of Chicago and the School of Ulm. Known as ID1103 "Basic Design & Communication I", this foundational course conducted in Semester 1, Academic Year 2006/2007 focuses not only on the design process but also on the elements of design (e.g. colour, proportion, materials).

The course consists of three basic and interrelated element s for teaching and learning design fundamentals. The first element is a set of learning objectives that emphasises the development of the following interrelated attitudes, attributes and capabilities: individuality, especially in terms of design creativity and problem-solving skills (i.e. functional knowledge and cognitive strategies); acquisition of declarative and procedural knowledge and design-related perceptual motor skills; and profession-related self-management, organisational and planning abilities in keeping with particular needs, cultures and environments.

The second element is a set of teaching and learning principles comprising three components: a set of controlling parameters (e.g. design variables and const raints, economy of means and time management); a set of descriptive dimensions in the syntactic, pragmatic and semantic dimensions; and an intuitive approach that promotes research of originality and free-form thinking without f ixed rules. This set of teaching and learning principles links the learning objectives with the third element-sets of design exercises-and complementary problems in a logical and systematic manner.

The final key element of this teaching strategy has two parts: a classification of design exercises aligned with respective learning objectives (e.g. discovery exercises, analytical exercises and desig n informat ion exercises) and a plan to project sets of design exercises in an ordered manner-introductory level exercises of relatively low complexity, intermediate level exercises of medium complexity and advanced level exercises of relatively high complexity. These discovery, analytical and design information classes of exercises are usually not mutually exclusive because a particular design exercise or problem may contain all three elements.

Case Study

A case study illustrates how "Basic Design & Communication I" develops the second principle of the teaching strategy, namely, a set of descriptive dimensions, in these analytical exercises.

These exercises feature the study and analysis of objects which may already exist or are being conceived, with reference to three logical and closely interrelated dimensions: syntactic, pragmatic and semantic.

This method of analysis shows the three descriptive dimensions has three characteristics. Firstly it allows an understanding of a product from different views. Secondly, it offers a 'motor' of creativity for the designer who identifies the advantages and disadvantages in terms of the syntactic, pragmatic and semantic points of the products currently on the market. And finally, this rational approach enables the clear communication of the design.

These three analyses were conducted by Chia Yan Wei, Koh Child Shen Donald, Fang Siwei, Liew Hui Min Cindy, Lee Yunn Si Olivia and Chen Huiqian, f irst year students in Industrial Design at the National University of Singapore in 2004.

Syntactic Dimension

The syntactic dimension refers to the analysis of the physical characteristics of each component including structure, materials and the functional relationship between the different components of a product or architectural project. More specifically, these analyses have been limited to details such as providing exploded perspective and/or dimensioned technical drawings and identifying materials and the systems of assembly of the components in a product. In professional design work, syntactic analyses take on a much higher level of elaboration and detail, such as estimating manufacturing processes and costs of products or projects.

Syntactic analysis-Figure 1 shows an example of this analytical exercise. A group of design students doing research on a joystick for video games has presented their syntactic analysis in three parts: (1) an exploded perspective showing the main components and their connection; (2) a top, bottom and front view with the dimensions; and (3) the advantages and disadvantages of the product from a syntactic point of view. The main advantage of this product is the replaceability of the individual components.

Figure 1. Syntactic analysis

The disadvantages are the exposed metal shafts which tend to rust and the easily disassembled components that may invite vandalism. The information provided gives a clear presentation and understanding.

Pragmatic Dimension

Pragmatic dimension analyses how a product works and how it is to be used. This includes a study of the user functions, user interface features and ergonomics of a particular existing or conceived design. As in the case of syntactic analysis, more consideration needs to be given to products of increasing complexity and this in turn requires a much higher level of refinement and detail including maintenance considerations and user-centred design studies.

Pragmatic analysis- Figure 2 shows a solution to this analytical exercise. The students presented this in two parts: (1) a series of photos visually explaining the use of the product with a focus on the ergonomic position of the hand to control the stick; and (2) a list of the advantages and disadvantages of the product from a pragmatic point of view. The advantages are: it is intuitive to hold and use, it can be held in many ways, it only requires the wrist to move, it offers a comfortable grip due to its smooth surface and small size, and it is suitable for both leftor right-handed users. The disadvantages are: it is tiring for users after extended use, it can be slippery when the users' hands get sweaty, it is too small for large hands, it poses a risk of wrist injury or back/ shoulder stiffness to users if only the wrist is used, and finally, it may cause blisters after prolonged use due to friction between joystick and the hands.

Figure 2. Pragmatic analysis

Semantic Dimension

The semantic analysis of objects-which includes the consideration of the context, form analogies and the spirit (or emotional response to the inherent images and messages) projected by an object-allows for the realisation of the variable place occupied by images in society according to different cultures. Nowadays, designers practise in a technologically advanced multimedia society where symbols and images occupy an increasingly important place.

The semantic analysis has been limited to three main components: firstly, the context in which the product is supposed to be used (e.g. in hotels, restaurants, apartments, schools). Secondly, the associated form analogy which, in effect, is a comparison between the product and other objects with similar forms or features and which are often used to explain a principle or concept. Finally, the spirit or emotional response evoked by the product in general (e.g. a notion of speed, sophistication, simplicity, action and peace). This spirit may be illustrated during the Figure 3. Semantic analysis analysis by a related image and also by keywords. As for the other dimensions, the related complexity increases progressively from the stage of design fundamentals through to the level of professional work.

Figure 3. Semantic analysis

Semantic analysis-Figure 3 shows a solution to this analytical exercise. This semantic analysis is presented in the following manner: an understanding of the context where the product is used; and research on the form analogy, and finally the spirit or emotional response evoked.

The first band (Figure 3) shows the context of this kind of product related to young people playing a video game at a fun fair. The form analogies relate to the game and childhood products such as bulb, sweet, cherry and so on; and the spirit provoked links to the notion of mechanical rotation and speed that characterise the feeling when operating this kind of joystick.

This set of descriptive dimensions can apply to more complex levels of industrial design during final-year projects.

The author is developing this theory in more detail in a book entitled Design for a Contemporary World: A Textbook on Fundamental Principles, to be published by Singapore University Press in 2007.