The Making of the Notions of Design In Chinese-speaking societies, the word “sheji” (design) has a subtle distinction in relation to engineering, manufacturing, and construction projects. In industrial education, it usually has referred to scientific technology, production, and engineering techniques. For instance, early courses at the Hong Kong Technical College included “Structural Design” from the Department of Civil Engineering, “Transistor Radio Design” from the Department of Electrical Engineering, and “Jig and Tool Design,” “Procedure Design,” and even “Workshop Design” from the Department of Production Engineering. These observations indicate how “design” and “design education” in Hong Kong initially aimed at providing technical input in industrial training, intended to develop the local industrial economy in the postwar era. This aim was far removed from any artistic advocacy, even though “art and design” had merged into a distinct category in everyday discourses. Since the 1960s, “visual art” and “design” have tended to be mentioned in the same breath in Hong Kong. Obvious examples include the Education Department’s change in the official subject title from “Art & Craft” into “Art and Design” in 1975. Furthermore, local art education syllabi and textbooks invariably have included “Graphic Design,” “ThreeDimensional Design,” and “Design Principles”; and of most of the design curricular, the like of “Art Appreciation” and “Art History” are indispensable parts. “Art” and “Design” seem to have an inevitably close relationship in Hong Kong—or do they? There was still public debate on whether “design” should be included into the visual arts funding category when the Hong Kong Arts Development Council was established in 1995. Although the problem of defining the difference between design/art/craft/technology has been the subject of more than a century of debate among industrial powers in the West, the idea of an allegiance between Art and Design has only been invented or adopted in the last thirty to forty years in Hong Kong. Is there then a necessary link between visual art and design? Why do we discuss the two ideas together so frequently? In this paper, I will focus on the genesis and development of the current “mainstream” design education in Hong Kong (from the 1 Hong Kong Technical College, Hong Kong Technical College Annual Report 1959/1960. 2 For the public debates, see the following press articles: Leong, Koon Lai, (1995). “Sheji Guiru Shiyi Fen Yibeigeng, Hang Nei jiang Ban Luntan Pieqing Guanxi” (Design Sharing with Visual Art: A Symposium in the Profession to Clarify the Relation-ship). Xianggang Lianhe Bao, September 19, 1995; Fongi (1995). “Yizhanju Xuanju Timing Jiezhi zai Ji, Zhiyi/ Sheji Yunniang Fenjia” (Election Nominations of the Art Development Council will be Closing, Visual Art/ Design are Preparing Their Separation). Xianggang Jingji Ribao, September 20, 1995; Lee, Kam Ping (1995). “Gongping de Shiyi Fanchou Dingyi” (A Fair Definition on the Realm of Visual Art). Xianggang Lianhe Bao, July 27, 1995; Kan, Tai Keung (1995 a). “Qing Gongping Duidai Yingyong Yishu (Shang)” (Treat Art Applications Fairly (First Part)) Xianggang Lianhe Bao, August 7, 1995; Kan, Tai Leung (1995 b). “Qing Gongping Duidai Yingyong Yishu (Xia)” (Treat Art Applications Fairly (Second Part)) Xianggang Lianhe Bao, August 8, 1995.