「設計」無所不在，在強調如文化創意產值等美學經濟的今日，其內在定義與意涵更顯不凡。追本溯源，design被認為源自於拉丁文disegno一字，自文藝復興以降，便用來表示作品之底稿或草圖，然而，卻也正是因為其中所蘊含的技術成分，「設計」相當程度被視為不同於傳統的美術（fine art），反而是帶有實用性質的應用美術（applied art）。此定義在歷經產業革命之英國，藉由當時多位思想家與社會運動家，例如威廉莫里斯等人的提倡及推行，一種不同於主流品味，挑戰傳統思維的美學革命儼然成形。在此運動中企圖藉由對「手工藝」的高度評價，重新定義現代生活的意義。
「手工」創作，不僅是實踐藝術理念與革新思想之場域，更是建構現代大眾文化與其生產品之要素，其重要性更橫跨時間、疆域之藩籬。至於「現代工藝」一詞之運用，更導引出「手工藝」與「現代性」二者間交互之主客體關係。
若以此概念切入，則十九世紀後半葉，英國倫敦文化菁英圈中所形成的「藝術與工藝運動」，無疑是此觀點之首次宣示，更是再思該歷史現象的原點，亦不啻為構築本研究論文之基石。然而，本文並不以此歷史事件為限，除了探究其成因，更著眼於其效應，旨在多面向地思考現代設計理念建構之源頭、作用與後繼影響，並且試圖就社會改革、階級品味之流動與藝術之再定義，還原「現代設計」之歷史定位，更冀求勾勒出其當代樣貌與核心精神。

If industrialization and professionalization is considered as the facets of modernity, then the critical concern of the movement to the “industrial” modernity entailed it more backward-looking than toward, meanwhile the seeking of transformative ethos about foster change, innovation and reform(both political and aesthetic) somehow labeled its “modern” spirit as well.
“Crafts” as the key arena of thoughts, innovation and practice, not only in its own right but also as a constructive part of industrial production, it is even regarded as a cultural complex about the linking of design and crafts in the consideration of spirituality, therefore, in this research I intend to argue and seek the multiple facets of ‘Modern Design’ between past, present and future, to define its double sides of modern processes and counter-processes.
The term “modern craft” refers to the relation of craft to modernity. The aim of this research is to investigate through the medium of the Arts and Crafts Movement in England of the 1880s, which was considered as the first manifestation and the root of modern crafts, to rethink and redefine the modernity within this historical phenomenon. Moreover, how the further development of modern design leading to afterward and is rather another worthy to examine.

中文
期刊論文
馮永華、楊裕富，〈「設計風格」形成因素之研究〉，《設計學報》，11卷3期，2006年，
頁99-113+115。
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