Critical Voice in Design Theory and Aesthetic Education: In Memory of Gert Selle (1933–2025)

The world of design theory and aesthetic education has lost a profound and critical thinker. Gert Selle, who passed away on the 1st of febrary, was not only a scholar but also a passionate advocate for a more reflective and socially responsible approach to design. His intellectual legacy—marked by a deep engagement with the history, ideology, and pedagogy of design will continue to shape discussions in these fields for years to come.

Born in 1933 in Wrocław, Selle studied German studies, art history, and art education in Frankfurt and Kassel. His early career as an art teacher in Frankfurt (1960–1967) gave him firsthand insight into the challenges of aesthetic education, an experience that would later inform his academic writings. His transition to academia began in 1967 with a position at the Werkkunstschule Darmstadt, and in 1973, he became a professor at the Technical University of Braunschweig. From 1981 until his retirement in 1999, Selle held a professorship at the University of Oldenburg, where he developed and refined his ideas on the theory, didactics, and practice of aesthetic education.

Yet, Selle was not just an academic in the traditional sense. His work was political, critical, and always engaged with the social realities of design. He questioned the dominant narratives of design history, challenged the instrumentalization of aesthetic education, and advocated for a more experience-driven, human-centered approach to design practice.

Selle’s writings reflect his keen analytical mind and his commitment to exposing the ideological underpinnings of design. His seminal work “Ideologie und Utopie des Designs” (1973) critically examined industrial design from a socio-political perspective, arguing that design serves a set of ideological and economic interests. He saw modern design as both a tool of capitalist rationalization and, potentially, a medium for change. Another major contribution came with “Jugendstil und Kunstindustrie. Zur Ökonomie und Ästhetik des Kunstgewerbes um 1900” (1974), where he explored the complex relationship between aesthetics and industrial production around 1900. In this work, Selle challenged the romanticized view of the Jugendstil movement by demonstrating how it was deeply embedded in the economic and technological conditions of its time. He argued that even seemingly revolutionary artistic movements could be co-opted by market forces—a theme that remained central to his later critiques of contemporary design culture.

His most widely recognized book, “Die Geschichte des Design in Deutschland von 1870 bis heute”, remains a cornerstone in German design historiography. Unlike traditional design histories that celebrated progress and innovation, Selle took a more critical stance. He analyzed how design evolved alongside industrialization, consumer culture, and shifts in production methods, highlighting the tensions between artistic aspirations and economic constraints. His approach to design history was never purely chronological but always interrogative—seeking to understand the power dynamics at play.

Beyond historical critique, Selle was invested in questions of education. In works like “Entwürfe zur ästhetischen Bildung” (1988), he argued against a didactic, overly structured approach to art and design education. Instead, he championed a form of aesthetic learning that was rooted in personal experience, sensory perception, and critical reflection. He saw creativity not as something that could be “taught” in a top-down manner but as an emergent process shaped by lived experience.

Even after his retirement, Selle remained intellectually active, continuing to write essays and contribute to discussions on design and education. His later works explored the intersections of design, everyday culture, and the increasing digitalization of aesthetic experiences, always maintaining his critical stance against unreflective consumerism and technological determinism.

Despite his sharp critiques, Selle was never cynical. He believed in the potential of design to contribute to a more just and meaningful world—if only designers and educators were willing to question their own assumptions and challenge established norms.

His work will continue to inspire scholars, designers, and educators who seek a deeper understanding of design’s social, historical, and pedagogical dimensions. His critical approach remains as relevant as ever in times of uncertainty. He reminds us that design is, at its core, a cultural and political act—one that demands reflection, responsibility, and a commitment to human experience.

With his passing, we lose a voice of intellectual honesty and passionate critique. But his ideas live on, urging us to see design not just as an aesthetic discipline, but as a field deeply entangled with the structures that shape our world.

Rest in peace, Gert Selle. Your work will not be forgotten.