studioclassroom   36

cityofsound: Journal: 'In Studio: Recipes for Systemic Change' book, and Helsinki Design Lab
"In particular, much strategic work for government clients in particular suffers from a major flaw—the lack of a ‘hinge’ connecting the work to a clear pathway to projects, or further work. If the workshop is free, as it often is in new, challenging, transformational areas where there is no clear understanding of value from previous efforts, it's particularly difficult, Here, the client is barely a client at all in one of the more meaningful senses i.e. they haven’t paid for it, they don’t have ‘skin in the game’.

Equally, studios can usefully bring together multiple stakeholders. Yet with complex interdependent problems requiring holistic thinking and action—e.g. climate change, health, urbanisation, education—this can lead to no one body taking responsibility, and so potential solutions fall through the cracks between organisations or within one organisation's architecture (fig.2 below) i.e. education is no longer the sole responsibility of the Department of Educaiton; it's more complex, hybrid, layered, networked than that (add your descriptor of choice).

Finally, workshops or studios lend themselves to a particular kind of focus, based on conversation and collaboration—yet they rarely provide the depth of analysis to tightly define an issue such that it can be developed into action. This often requires subsequent work, by which time the potential client has left the building and achieved escape velocity, easily side-stepping momentum generated in the workshop. The workshop model, which is often the foot-in-the-door for consultancies in this field, is intrinsically flawed.

The Helsinki Design Lab studio model is designed to side-step or otherwise deal with many of these problems. This is partly due to the nature and position of Sitra itself, particularly if strategic connections can be generated across relevant government bodies. Sitra has, to some extent, the capacity to can reach into and manipulate the 'dark matter' of organisation, governance, culture, industry (fig.3). [PS. "Dark matter" is a phrase I've been using in recent presentations and conversations (drawn from Wouter Vanstiphout in a great interview with Rory Hyde) and one I'll return to. It's not as bad as it sounds, just like real dark matter. Though it can be.]"



"The Helsinki Design Lab approach, which we're developing rapidly now, is an attempt to flesh out many strands of strategic design that we're pursuing. This first aspect, the studio, is about sketching vision. The idea of studio itself is at least three-fold, simultaneously conjuring up the idea of a space, a team or organisation, and an act of being 'in studio'."



"I think, I hope, that it suggests one possible meaningful way forward for design itself, as well as suggesting new cultures for the public sector, for thinking about complex, interdependent problems, and for rapidly creating practical yet compelling visions built on a clear understanding of 'the architecture of the problem', as we call it. "



"More fundamentally though, we intend that this is the first in a series of projects which describe how design can be used beyond these details of production of space, realisation of product or service. Often, of course, design is used in this traditional if limited role of process improvement and problem solving—the realisation of 'the thing'—without addressing the core issue, the core strategy, the vision and organisations behind 'the thing' in the first place. We think design has a role to play before we even know what the questions are, never mind the solutions. That's what this book begins to address. Subsequent projects—some products/services/things, some events, some discussion—will develop this idea."
danhill  2011  lcproject  openstudioproject  culture  decisionmaking  process  studios  studioclassroom  strategicdesign  design  vision  organization  organizations  bryanboyer 
february 2016 by robertogreco
School-as-Studio Immerses Students in Creative Problem Solving | Edutopia
"Nearly 50 students attend NuVu full time during the regular school year. That means they "do" middle or high school in a multiage setting without traditional classes. Some come for a trimester; others stay for multiple years. Students earn elective credits by choosing from a selection of two-week studio topics that are intentionally designed to cross disciplines. (Some high school students also take online courses to satisfy additional academic requirements.) Recent projects have focused on everything from futuristic fashion to biotechnology.

NuVu co-founder and chief creative officer Saba Ghole describes the studio approach this way: "We're deliberately mixing ages and grade levels. We want diverse perspectives and skill sets in each studio. We start with a theme for the trimester, develop design briefs, build in content, and then bring in interesting people to facilitate.""

NuVu co-founder and chief creative officer Saba Ghole describes the studio approach this way: "We're deliberately mixing ages and grade levels. We want diverse perspectives and skill sets in each studio. We start with a theme for the trimester, develop design briefs, build in content, and then bring in interesting people to facilitate."

A recent trimester, for example, focused broadly on health topics. One studio zeroed in on addressing the needs of low-income youth who are living with cerebral palsy. "How could our students design products, wearables, or clothing for a youth audience? We had physical therapists and doctors who coached our students to help frame the pain points," Ghole explains.

More insights came from a family in Mexico whose daughter has cerebral palsy. After research and Skype interviews to better understand the health issues and the user experience, a team of NuVu students designed an improved lift vest. "Existing ones are kind of ugly. Users wanted something functional but also fashionable," Ghole says. Another team designed a stabilizing hand brace with attachable tools (printed on a 3D printer) for drawing and painting.

In June, NuVu students will travel to Monterrey, Mexico, to field test their products. "It's a real issue, real audience. Theory meets tangible outcome," Ghole says.

Critique Culture

NuVu students learn through the design process -- questioning, researching, modeling, prototyping, and improving their work in response to feedback. They also communicate their ideas through final presentations and document their learning in portfolios.

"The critique culture is a new and uncomfortable space for many students when they arrive," admits Ghole. Coaches ease newcomers into the process, starting with self-portraits that students manipulate using Photoshop. When students can see their work improve with feedback and revision, "then it becomes intuitive," she says.

The design process and studio culture are cornerstones of the learning experience, but that doesn't mean every project unfolds in the same way. "The process is messy," Ghole acknowledges, "and there will be variations based on where you start. It's not a formula.""



"Into the Wider World

The creativity and energy that fuel the learning experience at NuVu are starting to spread to distant corners of the globe. Through a long-term collaboration with the American School of Bombay, Ghole regularly brings a team of highly specialized NuVu coaches to Mumbai, India.

Earlier this year, ASB middle school students took part in an immersive, four-day experience called Studio 6. They could choose from 11 studio topics, such as designing games to improve global health, producing documentary films about Mumbai, composing electronic music to tell stories, or making art for public spaces. Each studio was assigned a NuVu coach with deep content expertise -- such as a physician knowledgeable about global pandemics -- plus regular classroom teachers to help manage the learning experience.

For teachers and students alike, Studio 6 offers a change from school-as-usual. For staff, the week provides a context to implement instructional practices such as project-based learning, design thinking, interdisciplinary learning, and making and tinkering. For students, the experience is high on the fun factor, but not fluff.

Pip Curtis, principal of ASB middle school, says that each studio maps to important learning goals, including 21st-century skills such as collaboration and creativity. Students reflect on their own growth, receive peer feedback, and are assessed by coaches and teachers. (Read Curtis' reflections on the development of Studio 6 in the ASB journal, Future Forwards.)

Worth Considering

Are there ideas that other schools might borrow from NuVu? Here are a few to consider.

If your school is considering a shift to PBL, design thinking, or interdisciplinary learning, a short-term studio experience might give teachers a chance to test-drive these instructional strategies. How might you connect a short-term studio experience with professional learning goals? How could school leaders help to prepare teachers for a successful experience?

Does your school encourage a "critique culture"? How do you help students understand that formative assessment and revision will help them to produce higher-quality results and reach their own learning goals?

Do you encourage students to reflect on their problem-solving process? Consider different ways that students might capture their reflections, such as blogs, photo galleries, sketches, or videos of work in progress. (See examples on the NuVu website, including these reflections about the wheelchair project.)

How do you engage with experts? NuVu has been intentional about developing a go-to list of content experts from diverse fields who enjoy sharing what they know with students. How might you develop your own network of content experts? Please share your suggestions in the comments section below."

[via: http://willrichardson.com/post/121273290220/from-pbl-to-pbw ]
nuvu  nuvustudio  2015  education  studioclassroom  sabaghole  suzieboss  lcproject  tcsnmy  openstudioproject  howweteach  cv  howwelearn 
june 2015 by robertogreco
9/15-9/28 Unit 1: Why We Need a Why | Connected Courses
"Title: The End of Higher Education

Description: As shrinking budgets, skeptical publics, and rising alternatives continue to threaten the end of higher education, we host this conversation as a contemplation of what the end – or purpose – of higher education should be. We will also reflect on how individual teachers might find their own core reason for teaching a specific class, and ways to build buy-in to that reason among students."

[Direct link to video: https://www.youtube.com/watch?v=JFcjrwaJV0E ]

"Why We Need a Why:

As we design our courses, we have to address three questions:

What is to be taught/learned?

How should it be learned?

Why should it be learned?

We usually start by addressing the “What” question first. We have a course title or subject area and we begin populating our syllabus with the “whats” to be learned. Or, we peruse textbooks looking for the text that we think best covers the field. If we have time, we address the “How” question by considering how we can best teach the material. We sharpen our teaching technique, seek out better examples for the more difficult concepts, compile photos and videos to improve our presentations, and seek other ways to get the students engaged with the material. We may jump to incorporate the latest tools and techniques, whether it is social or interactive media or a new technique like a flipped classroom. Our syllabus, teaching materials, and educational technology in order, we rush into the semester, rarely asking, “Why?”

Starting with “Why” changes everything. When I, Mike Wesch, first started contemplating the “why” of my digital ethnography course, I realized that what I was really hoping to do was to teach my students “critical thinking.” I place “critical thinking” in quotes here because I had not yet given a great deal of thought about what I meant by the term, but I did immediately recognize that my previous “how” was completely inadequate to the task. I had spent most of my time thinking up elaborate and memorable performances (like the “shake your tailfeather” dance featured in this video) so that they would remember the concepts. Their task in my class was to simply memorize the material as performed by the authority (me) at the front of the room. Indeed, all of my teaching to that point had been in service of a very thin, unquestioned, and ultimately wrong notion of learning as the simple acquisition of knowledge.

As I contemplated the “real why” of my course further, I soon recognized that anthropology was not a bunch of content and bold faced terms that can be highlighted in a text book, but was instead a way of looking at the world. Actually, that is not quite right. It is not just a way of looking at the world. It is a way of being in the world. To underscore the difference, consider that it is one thing to be able to give a definition of cultural relativism (perhaps the most bold-faced of bold-faced terms in anthropology which means “cultural norms and values derive their meaning within a specific social context”) or even to apply it to some specific phenomenon, but it is quite another to fully incorporate that understanding and recognize yourself as a culturally and temporally bounded entity mired in cultural biases and taken-for-granted assumptions that you can only attempt to transcend.

To adopt such an understanding is often transformative and psychologically disruptive. It is not to be taken lightly, and no student will dare take on such disruption if it is not clear that there is a good reason to do so. As Neil Postman has noted, you can try to engineer the learning of what-bits (The End of Higher Education, Postman), but “to become a different person because of something you have learned — to appropriate an insight, a concept, a vision, so that your world is altered — is a different matter. For that to happen, you need a reason.” This also means asking hard questions about how new technology and techniques can support real student transformation and not simply reinforce old patterns with new tools."
michaelwesch  cathydavidson  randybass  2014  highered  highereducation  purpose  education  colleges  universities  pedagogy  theywhy  learning  howwelearn  why  howweteach  teaching  crits  studioclassroom  criticism  designthinking  design  critique  constructivecriticism  writing  howwewrite  revision  peerreview  learningcontracts  classconstitutions  student-ledlearning  mooc  moocs  authenticity  tcsnmy  ownership  lcproject  openstudioproject  contracts  cv  classideas  deschooling  unschooling  community  communities  communitiesoflearning  learningcommunities  profiteering  difficulty  economics  engagement 
september 2014 by robertogreco
Studio Schools Trust
"The Studio School is a new concept in education, which seeks to address the growing gap between the skills and knowledge that young people require to succeed, and those that the current education system provides. Studio Schools pioneer a bold new approach to learning which includes teaching through enterprise projects and real work. This approach ensures students' learning in is rooted in the real world and helps them to develop the skills they need to flourish in life. For detailed information, please read the Studio Schools Brochure.

Studio Schools are designed for 14-19 year olds of all abilities. They are small schools for 300 students; and with year-round opening and a 9-5 working day, they feel more like a workplace than a school. Working closely with local employers, Studio Schools will offer a range of academic and vocational qualifications including GCSEs in English, Maths and Science, as well as paid work placements linked directly to employment opportunities in the local area. Students will gain a broad range of employability and life skills through the CREATE skills framework, and will have the option to go on to university, further training, and into employment."



"Essential Elements of a Studio School

At the heart of the Studio Schools' model are seven key features, which have been developed through extensive research and consultation with employers, education experts and young people. These essential elements provide a framework for all Studio Schools and will be built upon by individual schools who will tailor the model to meet the needs of their local community and local labour market.

Academic Excellence

Like traditional schools, Studio Schools will teach the National Curriculum and offer key academic and vocational qualifications. The qualifications offered by individual schools will vary depending on local circumstances, however all will deliver qualifications at Level 2 and above, including core GCSEs in English, Maths and Science. On leaving their Studio School, students will have the full range of progression routes available to them. They will have gained the qualifications, knowledge and skills to choose the option which is suitable to them: entering the jobs market from an advantageous position; starting an apprenticeship; or going on to further or higher education. For more detailed information about the Studio Schools curriculum model click here.

Employability and Enterprise Skills

Key employability and life skills will underpin all the activities at a Studio School through the unique CREATE skills framework. CREATE is comprised of a wide range of skills and stands for Communication, Relating to people, Enterprise, Applied skills, Thinking skills and Emotional intelligence. Four years in the making, CREATE is grounded in a wide range of skills typologies and has been developed specifically for Studio Schools inorder to equip young people with the key skills that they need to flourish.

Personalised Curriculum

In Studio Schools all students will be assigned a ‘personal coach’ who will meet with them one-to-one every fortnight to develop their own personalised learning plan. This will allow students to tailor their curriculum to their individual needs and aspirations, and track their progress towards their CREATE skills and qualifications. Personalisation of the curriculum will be further supported through a small school environment in which every young person will be able to access the tailored support that they need.

Practical Learning

Enquiry-based learning (EBL) lies at the heart of the Studio Schools' curriculum model. In Studio Schools, students will learn the National Curriculum principally through Enterprise Projects in their school, local businesses and surrounding community. To root students’ learning in the real world most projects will involve external commissions. So whether it is a health report for their local hospital or a business brief for a local employer, students’ learning will be authentic and will actively involve them in local community life.

Real Work

Students in Year 10 and 11 will participate in work experience each week - this varies from half a day per week to a day each week depending on the Studio School, and the requirements of their industry partners. In Year 12 and 13, it is the SST recommendation that students spend two days per week in work. There is considerable evidence that this direct, ‘hands on’ experience better prepares young people for life and work.

Small Schools

As small schools of around 300 students, Studio Schools offer a supportive, personalised learning environment in which strong pastoral care runs throughout the school’s activities. This helps to ensure that no young person gets lost within the institution and that young people are able to build strong relationships with their peers and coaches. Crucially, coaches know students well, making them better able to tailor the curriculum to their individual needs and aspirations.

Students of All Abilities

Studio Schools are fully inclusive and comply with the national School Admissions Code."

[See also: http://blog.ted.com/2011/09/27/a-short-intro-to-the-studio-school-geoff-mulgan-on-ted-com/ ]
openstudioproject  schools  studioschools  studioclassroom  cv  uk  education  learning  highschool  schooldesign 
may 2014 by robertogreco
Museum as Hub: Interview with Beta-Local by Ruba Katrib :: New Museum
[See also: http://www.conboca.org/2012/05/29/entrevista-a-michelle-marxuach-y-beatriz-santiago-de-beta-local/
and http://www.nytimes.com/2010/07/14/greathomesanddestinations/14gh-puertorico.html ]

"Beta-Local is a nonprofit center for contemporary art initiated in 2009 and located in the heart of Old San Juan, Puerto Rico. I met the three cofounders, Beatriz Santiago Muñoz, Michy Marxuach, and Tony Cruz in 2010 in their storefront space, which was filled with long tables and chairs, surrounded by bookshelves packed to the brim, sofas, and a small kitchen. While Beta-Local doesn’t exhibit art, it is an essential site that fosters interdisciplinary production and dialogue within Puerto Rico. While I was there, international visitors (myself included) were using the space to have studio visits with local artists; meanwhile, the São Paulo-based artist Carla Zaccagnini led a course. In a time when the university system in Puerto Rico is especially volatile, Beta-Local has become a safe haven for artists and others interested in education and exchange. I was invited to interview Beta-Local for Museum as Hub, who feature the space in their Art Spaces Directory.

Ruba Katrib: Can you talk a little bit about why you started and what you consider to be the central focus of your program?

Beatriz Santiago Muñoz: Beta-Local grew out of our interest in rethinking aesthetic thought and artistic practice from our local context. We began the project in 2009, during the economic crisis. We viewed the lack of local institutional support structures, such as contemporary galleries, museums, and art schools—along with the crisis in traditional modes of production and art economies—as an opportunity to develop alternative support structures for art and vernacular pedagogies. We insist on artistic practice and aesthetic thought as an essential social and political practice part of life.

Beta-Local is organized around three main programs: La Práctica, a nine-month production-based program, The Harbor, a residency program, and La Ivan Illich, an open school through which anyone can propose a class that they want to take or teach. These three programs generate many independent projects from performances to seminars, concerts to collective meals.

Our most important role is to support artists in making work. This making/thinking happens in the midst of projects, classes, lectures, and research. The multiple directions that the conversation can take can be disorienting, but we think this is a good thing.

We wanted to create a space that supported art-making—very broadly defined—and we wanted to do this while responding to and rethinking our physical context, the places where we live, our relationship to the people we collaborate with, their abilities and interests, as well as their imaginative visions of what was possible. We wanted to think about and create links across disciplines, and find connections between artistic practice and other ways of thinking and doing.

When we began the project, it was important for us to emphasize the lack of functionality in institutions, not a lack of exhibition space. We really looked to bring home the point that if there was no functionality in institutions, if the museums provided neither the resources, the relationship to a public, nor the critical context, than your living room—a street corner or a factory was just as good or perhaps an even better space for exhibition/presentation. We also wanted to de-emphasize the exhibition as the only point of contact between public and artist by opening up the process of production to the public, and allowing it to be challenged and enriched in the process.

We do actually orchestrate exhibitions/presentations when that is the logical end result of a project. We have brought in Alia Farid, a young curator living in Barcelona and Kuwait, to work with artist Rosalin Suero on the exhibition “Almacén/Habitación,” which took place in an industrial park. We also collaborated with the local Association of Architects to present Ashley Hunt’s lecture/performance Notes on the Emptying of a City and we presented Jeanine Oleson’s performance La Gran Limpia in contested public spaces and published a related text—these are just some examples. Generally, we don’t present work in our space; this forces us to create collaborations and open up other spaces for art. In general, these spaces have the resources, the space, and the electricity bills, they just don’t have the programming.

RK: With these different components comprising your structure, how do you balance the courses and workshops that are initiated by Beta-Local (that have your interests in mind) with the more “user-generated” elements of the program? Do these aspects of the program correlate or do you see them as separate initiatives entirely?

BSM: It is very hard to disentangle the two as there is a certain flow and synchronicity between them. Beta-Local has some clear interests—they are evident in the structure of Beta-Local, in the physical space, in our personal work as artists and cultural producers—but as the community of participants grows, those interests also grow, overlap, and meander. We follow our interests, but we leave all sorts of doors open for others to do the same. We are moved by the commitment of others to their own work and vision.

For example, we have received a lot of proposals related to bike culture, from mapping routes to bike mechanics. There is also a community of architects who are interested in experimental practices and architecture as research who participate regularly in programming, proposing, and leading classes; we have had classes and lectures proposed by economists, neuroscientists, ninety–year-old cooks, and teenagers. During 2011–12, we had a movement researcher participating in La Práctica. She initiated a project that involved the participation of many dancers, improvisers, and other movement researchers. This project opened the door to a local history of movement practices and all of a sudden we were in the middle of the dance community—not a place we could have anticipated at all. Similar instances have happened, all branching out in many directions—the space attracts like-minded people from other disciplines.

On the other hand, we also have found ways to pursue a sustained investigation into ideas of interest to Beta-Local. This year, we have begun a new series of intensive seminars anchored in our specific geography, local knowledge, and emerging art practices. This January, we are holding our first two-week session on the subject of land, place, and its visual representation. The ways in which our landscape is read and reinscribed through images is a subject that has come up a lot in the work of artists that we admire. The seminar puts together geographers, artists, and others who have been working on these ideas, including Chemi Rosado, Javier Arbona, and many others. We hope it will be the first of many. We have also pursued research and collaboration into experimental pedagogy, and have sustained long-term collaborations with artists and researchers whose work we are interested in exploring more in-depth.

In the most practical sense, we can do this because we are wiling to literally and figuratively lend them the keys. During our first and second year, we had so many proposals for courses (interesting ones!) and programming that we had to decide early on how to handle this. We would have collapsed if one of the three of us had to be there for everything. Andrea Bauzá, an architect who participated in La Práctica during our first year, organized an eight-week course on architecture, public space, and activism. We gave her the key to the space and from that point on we have done it many other times. On the one hand, it solves a practical problem, on the other, it really gives programming autonomy to the public school project. Also, all La Práctica participants have the ability to program the space and pursue their interests through programming. As we bring more people in, we have more and more reliable collaborators who can run programs, create projects, and teach classes.

RK: How do you believe Beta-Local’s program is perceived locally? There is a dynamic community of artists, curators, and collectors in Puerto Rico, what role do you think your program plays in the local art scene?

BSM: We have been very lucky to have the support and collaboration of the local community of artists and curators—as well as architects, designers, and non-art neighbors. They create programs and are our main audience and participants. Without their support and participation this simply would not work. This, in part, has to do with the fact that the public or La Práctica participants propose at least half of our programming. Establishing a steady connection with collectors is a bit trickier. We are not a traditional presenting institution. Some unconventional collectors avidly support our programs and regularly participate in events. We have also collaborated with Espacio 1414, a private collection, in creating a public program, which was very successful. But more conservative collectors may still be working on figuring out what we do and how this supports a healthy art community. Our place in the local ecosystem is as an engine through which new art and other relationships are forged, tested, and experimented with.

RK: Beta-Local is very integrated into the regional fabric; much of your program is a direct response to the immediate needs of the community in San Juan. But you also have international aspects to your program, how do you connect and communicate your activities to a broader contemporary art context?

BSM: We invite artists to Beta-Local whose work has interesting ties to or challenges local practices, Ana María Millán/Helena Producciones, Amílcar Packer, Carla Zaccagnini, Pablo Guardiola, Adriana Lara, Alia Farid, Center for Land Use Interpretation, Felipe Mujica, and … [more]
via:javierarbona  2014  beta-local  sanjuan  puertorico  beatrizsantiagomuñoz  art  openstudioproject  lcproject  glvo  tonycruz  michymarxuach  studios  studioclassroom  freeschools  education  community  ivanillich  residencies  rubakatrib  funding  fundraising  galleries  local  pedagogy  vernacularpedagogies  openschools  open  place  interdisciplinary  crossdisciplinary  transdisciplinary  multidisciplinary 
march 2014 by robertogreco
The Heart of Hort | Desktop
"How important is happiness to the running of the studio?

It’s a big part. Fear and bad vibes are a highly negative energy that works against good solutions in design. But we are not just happy people. We are hard workers and sometimes it’s also very frustrating. However we always try to come back and fight again for the good times. We spend so much time together and therefore there is a big investment from all of us to make this time as enjoyable as possible.

Do the Hort designers work collaboratively?

Yes, they do. Big jobs are done by lots of people, smaller ones by small teams or individuals. Everyone involved is responsible for the job.

Your work feels as if it is continuously uplifting — is this a purposeful infusion of happiness and celebration in your work?

The work we do is pretty serious. It’s about questioning the past to design the future. What is important for us is that our work has kind of a Hort personality. We want that people understand that this is the way we would solve the problem … that doesn’t mean that this is the only way you can do it. There are millions of ways. But we want soul in our work. If this is understood as happiness – that’s fine, but this is not our intention.

Is there a unique, “Hort” relationship with colour?

There’s no one ‘unique’ relationship as there are different individuals at Hort, each one promoting their own unique relationship. But when it comes to commissioned work, the team have to decide which colour range would be, in our opinion, the best to serve our concept.

What about Hort and irregularity?

I have my own experience with errors in my work. I learned graphic design by doing layouts by hand. “Layouting” an idea on a sheet of paper was connected to a lot of senses. There was much more time involved in making decisions as there was no Apple ‘Z’ in reality.

One day I talked to a lithographer about perfection in design. He showed me a sheet of a rasterized 70% black film used to exposure a pressure plate. There was one little dot that was damaged and my eye somehow found it. He told me that that errors build a much stronger relationship to us as we are not perfect either. At that time I did not understand the meaning behind this sentence. However when the computer entered my life I fell in love and designed everything on this machine, after some time I found out, that every design follows programming by someone else, just a tiny little bit. Design looked like it was designed on a computer. Slick and programmed. It was hard to learn to break out of this system. Perfection might be the engine for some designers, but for me perfection often kills the soul of someone’s work. So I try to integrate little irregularities to feel more connection with what I’m doing.



What is in the bright future for Hort?

It’s more important to enjoy brightness in the moment than hoping for a brighter future.

And after it all, how would you like Hort remembered?

As it is. A fantastic place where investing in relationships and humanity is more important than success and money."
hort  design  openstudioproject  learning  fun  work  howwework  wikekönig  2014  interviews  graphicdesign  relationships  studioschool  studioclassroom  lcproject  tcsnmy  cv 
january 2014 by robertogreco
cityofsound: Sketchbook: Fabrica 2013 Informal Annual Review: from departments to studios
The studio model I had in mind was drawn from long experience—the multidisciplinary teams I had created, or tried to create, at the BBC and Arup—and recent experience, in Helsinki, with the Strategic Design Unit model pursued with my ertswhile colleages, Bryan Boyer, Justin Cook and Marco Steinberg, and documented well here. And of course, the studio as the forum for design practice generally.

I had also drawn a lot from Alex Coles' useful book The Transdisciplinary Studio—not necessarily in any direct sense (I haven't implemented any details of the various studio practices described therein: Jorge Pardo Sculpture, Konstantin Grcic Industrial Design, Studio Olafur Eliasson & Åbäke) but more in terms of concept, of not simply mixing disciplines, but going beyond them. Given the sense that Fabrica could be a new kind of factory, helping invent and construct the future ("Fabrica" is drawn from faber, to make, and also suggests the Italian word for factory, fabbrica), I was particularly interested in the hybrid products that much emerge from the synthesis of disciplines into something new. As Piaget has it, going beyond the displines.
"Transdisciplinary: between the disciplines, across the different disciplines, and beyond each individual discipline." [Jean Piaget, referenced in Coles]

Fabrica was essentially organised into discipline-based departments—film, music, product design, graphic design and so on. Although some areas, like Design, or Interactive, had the beginnings of a multidisciplinary mix, the structure was something I wanted to address. (I suggested this in something I wrote called "The New Vision", which was an internal discussion document/book—more soon—to gauge peoples' opinions.)

Fabrica, in terms of the structure of its "engine" was not a million miles from many other studios and schools. elsewhere.

Given the rest of our world—institutional or otherwise—is largely organised into such disciplinary structures, which organisations turn into silos (disciplines need not be silos; it's organisations that do that) then what would be the point of Fabrica doing that too?

Following my colleague Marco Steinberg's thought that "we have 18th century institutions facing 21st century problems", can we create a 21st century organisation? Something that faces the 21st century, in all its hybridity and complexity, on its own terms? Something that might address 21st century issues with a more appropriate, flexible and complex creative toolkit?

If we look at a city council organisational structure, you see that it is largely in a 19th century mode, and so ill-equipped to deal with a complex, interdependent challenge like climate change? All of the following departments—and more—are implicated in solving the problem. In my experience, even getting a meeting to discuss a citizen-centred project like Brickstarter can be an issue with this form of organisation.

If you look at the departments and divisions of Oxford University, say, can we really say it has moved far from the organisation of the medieval university?

So why, for instance, should Fabrica have a music department? There are a million places to go and study or practice music. Probably many better. Juillard, for instance. Yet there are few places that sit a musician or sound designer next to a coder, next to a filmmaker, next to an industrial designer. (The same applies to other departments, obviously.)

Given our size, agility, mission and the fact that we are not interested in formal academic certification (that is another "trap" that reinforces silos) this environment is something that Fabrica can uniquely forge. This is the possibilty behind the idea of Fabrica.

Ten months in we have moved to a new studio-based model of organisation, addressing thematic areas via a transdisciplinary mode.

• Each studio has a mix of disciplines; for example, code, graphic design, film making, writing, industrial design, sound, art, and so on.
• Each studio has a range of projects addressing the theme, from big to small, slow to quick, client-led to self-directed.
• Each is led by a studio lead, or leads.
• Each has a dedicated studio space at Fabrica.
• These are the studios we have now (overlapping to indicate the possibility of fluid movement between them, and shared projects.) …

[Read on.]
[Rest saved here too: https://pinboard.in/u:robertogreco/b:7b2f1be990dc ]
transdisciplinary  interdisciplinary  studioclassroom  danhill  fabrica  cityofsound  2013  organization  disciplines  crossdisciplinary  openstudioproject  tcsnmy  schooldesign  education  projectbasedlearning  innovation  creativity  thematiclearning  fluidity  projectorientedorganizations  pbl 
october 2013 by robertogreco
cityofsound: Sketchbook: Fabrica 2013 Informal Annual Review: Exhibitions
"So Sam's team devised some modular furniture elements, a modular graphic system, and a modular web service, each of which related to the other but could be taken apart by incoming teams subsequently. Then, working with local students, a series of furniture elements emerged—benches, shelves, chairs, crates and so on—with customised graphic identities alongside.

This of course ticks several boxes for me, such as modular, adaptive components, collaborative design processes, open platforms and so on. But better was to see the buzz of activity when I visited on the closing Saturday and Sunday, with highly imaginative adaptations created in collaboration."



"What's Sam's studio does very well is use exhibitions to drive the rhythm of the studio. By giving themselves these immovable deadline of showing in public, they get stuff done. It's hard work, but productive, and the researchers really appreciate that. As do I.

We're increasingly using exhibitions to get Fabrica out and about, and watch out for more on that front, big and small. For instance, we're currently working hard on a very big, very top secret, quite design fiction-esque exhibition, for next February. More when I have it, but that is also using an exhibition to develop particular new skills and new perspectives inside Fabrica, through partnering with great design firms, and homing in on new thematic areas.

Another post along shortly.

Insights
Use exhibitions to turn Fabrica inside-out.
Use exhibitions to drive the rhythm of the studio.
Use exhibitions to acquire new skills, new perspectives."
exhibitions  2013  danhill  cityofsound  fabrica  sambaron  modular  modularity  adaptability  collaboration  design  openplatforms  open  studioclassroom  studios  tcsnmy  presentationsoflearning  rhythm  howwework  deadlines  productivity  openstudioproject  lcproject  learning  howwelearn  public  workinginpublic  projectorientedorganizations 
october 2013 by robertogreco
SCHOOLHAUS
"Schoolhaus is a design studio classroom inspired by our desire to remedy the growing divide between learning and education. While learning is a universal way of life, education is the institutionalization of that way of life— at times to the detriment of learning, and at excessive cost to the student. But there are aspects of both education and learning that are valuable, and not necessarily mutually exclusive. Schoolhaus is Aesthetic Apparatus’ attempt to combine what we consider the best of education (a social community, invested and informed guidance) with the best of learning (self-motivation, one-on-one mentorship) and embed them into a studio discipline (working-world applications with opportunities for invention and entrepreneurship.)

Schoolhaus works like a group-mentorship, held on-site during operating hours at Aesthetic Apparatus. Similar to a studio, each student submits an application or letter of intent for consideration. Enrollment is limited to 12 students at any one time — the size of a comfortable classroom. Schoolhaus can be used as a stand-alone design education or to supplement a previous design education. Anyone of any ability is welcome to apply; beginners, amateurs, even seasoned veterans. Once accepted, students may stay with the Schoolhaus as long as they and the studio feel is necessary. The curriculum begins with the student’s own self-initiated goals for learning. As the studio gains better understanding of the student’s strengths and weaknesses, learning is augmented with suggested and mentored study. Client-based or studio-based projects may be introduced, as well as inter-student mentorships or new creative ventures. The curriculum is amenable, the goal is to create a shared place for human-scale learning.

This program offers neither an earned degree or certification. We question the requirement of either in the working profession of graphic design. That said, higher education is essential for those who wish to pursue a deeply academic or pedagogical pursuit of graphic design. If this is the case, we suggest attending an undergraduate and graduate degree path at an accredited institution, as is required for future consideration of professorship. What Schoolhaus does offer is intimate, responsive, one-on-one creative guidance within the context of a close-knit group studio in preparation for a creative position in graphic design.

We are now accepting initial applications for an initial 2-month preliminary Schoolhaus starting August 1. The current tuition subscription for Schoolhaus is $500/month."

[Aesthetic Apparatus: http://aestheticapparatus.com/ ]
studiohaus  aestheticapparatus  openstudioproject  certification  design  learning  education  unschooling  deschooling  mentoring  mentorship  openstudio  studioclassroom  schooldesign  via:ethanbodanr  graphicdesign  minneapolis 
june 2013 by robertogreco
TEDxTijuana - Aaron Gutierrez - Logica de enjambres - YouTube
"Born in Tijuana, Baja California, Aaron Gutierrez Cortes was raised in the dual sensibilities of the Tijuana-San Diego region. He studied at The Southern California Institute of Architecture [SCI-Arc] and at the University of London. Founded Amorphica Design Research Office in 1999. His body of work has been published internationally in publications such as Arquine [Mexico City], La Tempestad [Mexico City], Pasajes de Arquitectura y Critica [Madrid], Architectural Design [London] and Architectural Review [London] among others. Since 2006, Aaron has lectured at several universities and international institutions like the University of Calgary, MIT in Boston, Colegio de Arquitectos of Mexico City, Louisiana State University and the San Francisco Museum of Modern Art among others. Since 2009 he serves as professor of architectural design at the Universidad Iberoamericana del Noroeste. He is currently the Principal Architect at Amorphica, an emerging Architecture, Urban Design and Research collective studio that evolves projects internationally with the intention of developing reactive design intelligence passionately focused on social and spatial self-sufficiency."

[See also: http://amorphica.com/
http://amorphica.com/tierra.html
https://vimeo.com/25884670 ]
aarongutierrezcortes  tijuana  mexico  architecture  2011  schools  design  poverty  sandiego  amorphica  schooldesign  lcproject  sustainability  environment  studioclassroom  self-sufficiency 
may 2013 by robertogreco
You Want Smarter, More Collaborative Students? First, Fix The Tables | Co.Design: business + innovation + design
"Everyone lauds the benefits of collaboration, and yet students usually sit apart from one another, stuck behind their individual desks. The Dutch designers Rianne Makkink & Jurgen Bey have updated the classic trestle table into a flexible system that stretches to accommodate group projects.

One or two trestle desks can be combined with a larger tabletop to form an elongated work surface. The longest table can also be used as a vertical or horizontal easel, with the metal ridge used for joining the tables together doubling as a utensil holder. The extension pieces, made from high-pressure laminate, can be folded and stacked into a colourful display when not in use.

Brilliant--and just the thing to help foster early collaboration--but sadly not yet a reality."
schools  tables  trestles  studioclassroom  schooldesign  classroom  design  furniture  2012  via:carlasilver  classrooms  from delicious
january 2012 by robertogreco
SpeEdChange: Changing Gears 2012: ending required sameness
"It is time to dispense with age-based grades and grade-level-"expectations," time to rid ourselves of assignments where everyone works on the same thing much less in the same way, time to rid ourselves of time schedules which limit learning, time to move beyond "Universal Design" to learning studios where differentiated humans learning to live and work together."
grading  grades  learningstudio  standardization  tcsnmy  cv  schooliness  schools  uniformity  conformity  sameness  diversity  2012  lcproject  studioclassroom  unschooling  education  agesegregation  irasocol  from delicious
january 2012 by robertogreco
Geoff Mulgan: A short intro to the Studio School | Video on TED.com
"Some kids learn by listening; others learn by doing. Geoff Mulgan gives a short introduction to the Studio School, a new kind of school in the UK where small teams of kids learn by working on projects that are, as Mulgan puts it, "for real.""
geoffmulgan  studioschool  studioclassroom  lcproject  tcsnmy  learning  education  uk  2011  wordofmouth  learningbydoing  collaboration  howwework  cv  schools  schooldesign  projectbasedlearning  resilience  employability  teens  motivation  non-cognitiveskills  pbl  from delicious
october 2011 by robertogreco
Please, NO Grades Teachers :: NuVu studio
"For our NuVu Studio, we wanted to create a space where students could learn how to learn in a way that nurtured their creative process and inspired them to innovate. In such an environment, we wanted our kids to work together, come up with many ideas – not just one answer or idea, freely discuss their ideas, look at things from multiple perspectives, defer all judgments, challenge assumptions, take as many risks and try out new moves, make tons and tons of mistakes AND learn from these mistakes, all as part of the process of discovery and innovation. And this meant very clearly for us, removing grading from our studio. But without grading, how would students be motivated to work? The motivation to do/create is a key aspect of the design studio. If you ask our students, the motivation to create comes from an intrinsic feeling based on the fact that they are working on real projects that they themselves feel are meaningful and matter. The students come up with the project idea…"
nuvustudio  education  learning  lcproject  unschooling  deschooling  tcsnmy  grades  grading  assessment  projectbasedlearning  problemsolving  studioclassroom  motivation  émilechartier  beavercountryday  reflection  self-reflection  2011  nuvu  pbl  from delicious
september 2011 by robertogreco
Matching learning to the real world: Forget the box! | Education Futures
"I met up with Ali Hos­saini in Am­s­ter­dam and No­ord­wijk ear­lier this month. In this short in­ter­view we made, Ali states that “to think out of the box, you have to start out of the box, and we’re not let­ting peo­ple leave it right now in the cur­rent ed­u­ca­tional in­sti­tu­tions.” He ad­vo­cates for ap­proaches to learn­ing that are col­lab­o­ra­tive and re­flec­tive of real world prob­lem solv­ing that al­low peo­ple to be­come ex­perts on the fly (and not just in busi­ness, but also in art, acad­e­mia, etc.). The de­vel­op­ment of cre­ative think­ing, he ar­gues, is one thing that West­ern ed­u­ca­tional in­sti­tu­tions could de­velop as their com­pet­i­tive ad­van­tage."
alihossaini  johnmoravec  thinking  criticalthinking  interdisciplinary  multidisciplinary  crossdisciplinary  learninglab  problemsolving  montessori  tcsnmy  projectbasedlearning  studioclassroom  2011  self-management  self-discipline  learning  unschooling  deschooling  maturity  toshare  openstudioproject  lcproject  art  pbl  from delicious
july 2011 by robertogreco
The Disruption Department
"First, the disruption department will pull together essential learning tools like computers, video cameras, internet, etc. and put them in the hands of students and teachers who need them. The department itself will own equipment that can be used temporarily in classrooms throughout the city.  Teachers can check-out this equipment, which will then be delivered to each classroom with relevant training and planning so these tools can be used to the highest potential. Additionally, the department will act as a source for finding funders, business with computers to donate, and fundraising websites so that necessary resources can be utilized by students and teachers throughout the city. These objects will be permanent fixtures in the classrooms of the teachers who partner with the department to locate these resources."
lcproject  unschooling  deschooling  stlouis  education  empowerment  studioclassroom  learning  tcsnmy  from delicious
july 2011 by robertogreco

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