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    <description>recent bookmarks from shannon_mattern</description>
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	<rdf:li rdf:resource="http://www.dextersinister.org/MEDIA/PDF/criticalfaculty.pdf"/>
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  </channel><item rdf:about="https://www.archpaper.com/2026/04/recent-exhibitions-publications-design-pedagogy/">
    <title>Recent exhibitions and publications put forth a vision for a design-based pedagogy</title>
    <dc:date>2026-05-16T01:11:49+00:00</dc:date>
    <link>https://www.archpaper.com/2026/04/recent-exhibitions-publications-design-pedagogy/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[In the introduction to his new book, Living to Learn: Art & Education for the Common Good, curator and educator Noah Simblist writes, “In the history of education there is a fundamental tension between liberation and discipline that crystalizes in times of crisis.” We are certainly in a time of crisis. And fittingly, Simblist’s book arrives alongside a handful of other projects where artists, architects, and designers are using education as a site of inquiry and investigation, imagining alternative forms of pedagogy: after school, an exhibition at Carnegie Mellon Art Museum that closed January 11, looked at public education through the lens of architecture, and the National Academy of Design recently opened Future Schools, on view until August 22, which turns its gallery into a classroom to “challenge how we learn together.” All three projects treat education as a design problem—something that can be redesigned—raising questions about the relationship between design and education as well as designers’ long interest in new models of education.]]></description>
<dc:subject>alternative_school design_education pedagogy</dc:subject>
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<item rdf:about="https://futuress.org/learning/navigating-past-envisioning-future/">
    <title>Navigating the Past, Envisioning the Future: Unearthing Feminist and Decolonial Threads in Design Education</title>
    <dc:date>2025-05-28T14:21:29+00:00</dc:date>
    <link>https://futuress.org/learning/navigating-past-envisioning-future/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The dominant history of design education has been shaped by institutions such as Bauhaus, Ulm School, the New Bauhaus, Black Mountain College, and others—all of which are primarily located in Western Europe and North America. These schools have disseminated modernist ideas of universality, neutrality, and progress. Despite this prevailing narrative, numerous feminist and decolonial educational initiatives have emerged, challenging the hegemonic norms of design education and envisioning alternative approaches.

This roundtable discussion aims to bring together design educators, historians, and researchers to explore the histories of design education and practice spanning from Chile through Brazil and up to Trinidad and Tobago in the Caribbean. The objective is to unearth counter-hegemonic threads within design education, shedding light on perspectives that have historically been marginalized. By delving into these stories from the past, the discussion reflects on potential learnings and possibilities for envisioning the future of design education, pedagogy, and practice. Through this exploration of counter-hegemonic narratives, the roundtable aims to inspire a reimagining of design education that is situated and horizontal and contributes to fostering social justice....

Her research explores the history of design education in Brazil, specifically focusing on design schools proposed during the 1960s and 1970s that, for various reasons—personal, political, or circumstantial—remained unrealized. To imagine how these schools could have worked, speculative and critical fabulations were used as methodological tools. ...

Her latest project, “Biographies of Crafts: Women Creating in Prison 1973-1990,” explores crafts made by women in detention centers during the Chilean dictatorship. Josefina has taught theoretical and practical courses in design programs at the University of Chile and at the Pontifical Catholic University of Chile, employing critical thinking about the discipline into the foundation of her role as an educator. She authored “Finding the She: Co-designing a Feminist Design Memory” (2022), which explores how female students in design programs experience the lack of representation of women in the contents of design history modules. Currently, Josefina is pursuing a Ph.D. at King’s College London, U.K., researching women’s weaving communities in southern Chile and the preservation of traditional knowledge in basketry and loom weaving. ]]></description>
<dc:subject>design_history design_education feminism decolonization global_south modernism anthrodesign</dc:subject>
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    <title>Rehabilitory Modernism: László Moholy-Nagy’s Occupational Therapy at the School of Design in Chicago | Critical Inquiry: Vol 51, No 2</title>
    <dc:date>2024-12-18T14:14:24+00:00</dc:date>
    <link>https://www.journals.uchicago.edu/doi/10.1086/732941</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Might design education be, at its heart, a form of occupational therapy? This is the question that this article grapples with, taking László Moholy-Nagy’s repurposing of the Bauhaus pedagogy for use with disabled veterans as its starting point. In exploring his work at the School of Design in Chicago (as well as an uncharacteristically activist period at the Museum of Modern Art in New York, which instituted a Veterans Art Center), this article seeks out the shared foundations of rehabilitory thought and the underpinnings of the Bauhaus Vorkurs by taking stock of Moholy-Nagy’s long-standing engagement with the field of psychotechnics.]]></description>
<dc:subject>disability architecture design_education</dc:subject>
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<item rdf:about="https://www.daas.academy/about/">
    <title>about - Decolonizing Architecture Advanced Studies</title>
    <dc:date>2024-09-08T19:07:22+00:00</dc:date>
    <link>https://www.daas.academy/about/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Decolonizing Architecture Advanced Studies – DAAS- is a series of postmaster courses, public seminars, field studies, publications, and discursive exhibitions that together form a platform for education and research at the Royal Institute of Art in Stockholm. The courses are led by Alessandro Petti, Professor in Architecture and Social Justice, in collaboration with Marie-Louise Richards, lecturer in Architecture, Tatiana Pinto, Roberta Burchardt and Hannah Clarkson as Tutors and with the contributions by guests, among them Walter Mignolo, Joar Nango, Rahel Shawl, Ana Naomi de Sousa, Luca Capuano, Jorge Otero-Pailos, Madina Tlostanova, Eyal Weizman, Emilio Distretti, Mia Fuller, Stefan Jonsson, Shahram Khosravi, Peter Lang, Hrair Sarkissian, Santiago Mostyn, Corina Oprea, Charles Esche, Andrea Cassatella, Sara Pellegrini, Magnus Ericson, Jennifer Nyiraneza Mpyisi, Sabina Sabolovic, and Mekonnen Tesfahuney.]]></description>
<dc:subject>alternative_school decolonization design_education pedagogy</dc:subject>
<dc:source>https://pinboard.in/</dc:source>
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<item rdf:about="http://rosab.net/en/introduction.html?lang=fr">
    <title>Introduction - Environnement et design</title>
    <dc:date>2024-08-01T16:19:11+00:00</dc:date>
    <link>http://rosab.net/en/introduction.html?lang=fr</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Founded after WWII, the Ulm school, following the Bauhaus, would make the environment its program. In 1969, the English historian Reyner Banham publishes The Architecture of the Well-tempered environment {1} for two days while what is being prepared under his expertise are the international meetings for design in Aspen (IDCA) which in 1970 would give rise to stormy debates. That same year, in the spring of 1970, Emilio Ambasz, newly appointed design curator at the Museum of Modern Art in New York, announces his ambition to make the museum an active protagonist in the debate on the processes that construct the contemporary environment, whether it be the natural world or that made by humans. For this reason, in January 1972, he inaugurates the Universitas program, Solutions for a Post-Technological Society in which architects, city planners and theoreticians, including Jean Baudrillard, met for two days. {2} In France, the Ministère des Affaires Culturelles founds the Institut de l’Environnement in 1968, which was the center for teaching and research for a program on urban planning, architecture, design and communication in order to meet the challenge of a “sensitive environment,” as André Malraux called it. The teaching reform of the Beaux-arts from 1972-1973 results in two types of departments or options in the school : environment and communication. {3} In this same vein, the government of Jacques Chaban Delmas (1969-1970) tries to deﬁne the issues of the environment by associating several ministries to join forces on questions about nature and the development of the territory. So in this way, around 1970, in France and on the international level, in all of the industrialized countries, the environment becomes a primordial question. {4} Debates that aim to deﬁne the principles of broaching the issue become arenas of theoretical and conceptual tensions.]]></description>
<dc:subject>environment pedagogy curriculum design_education architecture</dc:subject>
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<item rdf:about="https://ny.chalkbeat.org/2023/6/30/23779895/design-works-high-school-brooklyn-pratt-bank-street-housing-art-tech-equity">
    <title>A new high school with social justice focus coming to Brooklyn this fall - Chalkbeat New York</title>
    <dc:date>2023-08-11T13:21:51+00:00</dc:date>
    <link>https://ny.chalkbeat.org/2023/6/30/23779895/design-works-high-school-brooklyn-pratt-bank-street-housing-art-tech-equity</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Design Works High School, opening this fall in downtown Brooklyn, has a mission: to create socially conscious design professionals. 

Students at the new social justice-oriented school will spend their freshman year studying how housing and environmental issues affect their community. They will also learn about the politics of poverty and inequality. Then they will choose among three specialties: housing equity, tech equity, and design equity.

“When CUNY is holding a big talk about water, and how safe water is an equity issue, we want our young people to not just be invited to come to see the talk, but to be able to go toe-to-toe with those experts,” said Corinth Hunter, who has served as project coordinator for the new school and hopes to lead it as principal.

Hunter said having students focus on the language and literature of topics, such as one’s privilege and position, is imperative, particularly in their first year. She wants students to understand logically what these terms mean before they begin offering solutions.]]></description>
<dc:subject>education design_education high_school design_justice brooklyn</dc:subject>
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<item rdf:about="https://www.e-flux.com/architecture/software/341382/freestyle/">
    <title>FREESTYLE - Architecture - e-flux</title>
    <dc:date>2020-08-16T14:27:28+00:00</dc:date>
    <link>https://www.e-flux.com/architecture/software/341382/freestyle/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[500 years ago, buildings could not travel, so people had to.

If you wanted to get inspired and learn from the visual form of a building, you had to go see it in person. This was not something which was possible for most people in fifteenth century England, let alone the chance to design a building.

The design of the visual form of buildings was, and would remain until the twentieth and twenty-first century, an exclusive form of creative expression. Almost six hundred years ago, however, the first true form of mass media—the printing press and, in turn, the book—helped spread ideas about architecture (among many other things) without the limitations established by its heavy and static nature. Buildings could now travel.]]></description>
<dc:subject>media_architecture copies design_education print books pattern photography imitation</dc:subject>
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<item rdf:about="https://workbook.conditionaldesign.org/">
    <title>Out Now: Conditional Design Workbook</title>
    <dc:date>2017-08-06T03:31:57+00:00</dc:date>
    <link>https://workbook.conditionaldesign.org/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Conditional Design is a design method formulated by the graphic designers Luna Maurer, Jonathan Puckey, Roel Wouters and the artist Edo Paulus which foregrounds process over finished products. As a design strategy, it is defined by playfully designed sets of rules and conditions that stimulate collaboration between participants and lead to unpredictable outcomes.]]></description>
<dc:subject>design workbook pedagogy design_education design_method</dc:subject>
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<item rdf:about="http://www.arpajournal.net/studio/">
    <title>Studio | ARPA Journal</title>
    <dc:date>2016-06-30T13:12:13+00:00</dc:date>
    <link>http://www.arpajournal.net/studio/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[Some form of “studio” is found in all professional education. Medicine has clinics, engineering has labs, law has case studies and business has workshops. In all these cases there are issues of pure and applied research. I don’t see the value of architects doing pure research into human physiology or into the systems controls of spaceships, but perhaps they can help the teams researching the functional and visual relationships required within a spaceship cabin—like, how do you reach what you need to use and see what you need to work on within this environment? And maybe designers can help make its occupants feel less constrained. But for the specialized physiological or engineering needs of highly technical design, we must expect to work with experts....

MY AIMS FOR STUDIO
Learn by doing. This concept involves the traditional idea of the architectural studio as practicing design, and the planning studio objective of reinforcing the content of lectures. But, just as important, it has to do with the professionalization of academic knowledge to make it useable for designers. Our Las Vegas and Levittown studios, for example, tried not only to give architects a broader, more interdisciplinary intellectual base, but also to help them convert knowledge from other fields—from iconography to regional science—into forms they could use in their work....

Add knowledge and evolve the discipline. A scholarly discipline is defined by the body of knowledge and concepts that support it—and one role of research is to contribute to this constantly changing penumbra of learning. In professional schools, this role can also be filled by doctoral dissertations, the research of scholars, the empirical studies of practitioners and, in architecture, by research-oriented studios. The Las Vegas studio added, inter alia, the concept of The Duck to architecture: a (small) example of discipline building....

Get students to read. Perhaps by enticement, find something the students need to read in order to design their project. If necessary, trick them by saying, “your opinion is really important to me, so read the book and tell me what you think.”

Evolve learning techniques for different learners. Architects tend to be visual learners and many, like art students, are probably dyslexic. But their talent for visual learning is a difference, not a disability—one especially appropriate for architecture. 

Learn to do life-long learning.  Studio parallels and prepares students for the learning processes of professional practice, where projects must be researched as they are designed. If studio broadens these processes to include areas that would be ignored in practice, it can lead to improve project-related study and a lifetime of intellectual broadening.

Build camaraderie. When students work long, intense hours together under deadline on projects that intrigue them, an infectious spirit and a supportive solidarity builds up. This helps establish personal professional identities.

Build commitment. By developing camaraderie, ideals, professional ethics and philosophical approaches, the studio can help students form a basic commitment to their life’s work.

A “home” project.  When I entered Penn, I didn’t have the chance to get to know Philadelphia for six months. I had no time. It’s a kindness to introduce students to the city they live in by giving them a project based there.

tudio should be fun. Studio should be like playing. Children work hard at their play. So should the studio. If emotions—even anger, on occasion—aren’t triggered, none of us will learn.

Share the power. The teacher learns the most, partly because power is a great teacher. It’s also intoxicating, and therefore dangerous. You should share it, not take it all yourself. Try to get the students to have some of the power, make them be the teacher in some respect. Let them be judge of what they should show the class. Let them be part of a jury. 

PLANNING

Studio form, structure, and rhythms. I planned the rhythms of my studios first: the points during the sixteen-week semester when students would share information with each other, before the next phase. Then I structured the days of high activity during and just after charrettes. This set up a series of presentations, crits and juries; and around that, individual, small-group and large-group work sequences. These, in turn, structured the iterations of research and design. I then limned out the topics: some for early analytic phases and others to follow the initial design phase.]]></description>
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<item rdf:about="http://www.archdaily.com/445647/the-dean-of-parsons-design-education-must-change/">
    <title>The Dean of Parsons: Design Education Must Change | ArchDaily</title>
    <dc:date>2013-11-11T14:35:06+00:00</dc:date>
    <link>http://www.archdaily.com/445647/the-dean-of-parsons-design-education-must-change/</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[We continue to teach the fundamentals of drawing, making, technology, and critical thinking, but those skills are integrated across four years of study rather than organized into discrete courses. This structure encourages students to push the boundaries of disciplinary learning beyond the routine questions of fashion vs. architecture vs. graphic design, and into the larger issue of design’s potential as an agent of change. This will require them to understand the relationship between design and society. They might, for example, explore ideas of authenticity and memory, attempt to understand time as a form of composition, and work with space and materials as they relate to the human form and cultural objects.

In addition to promoting choice as a key element of the experience, the changes to our curriculum place significant emphasis on integrating studio learning with the liberal arts. Every student takes two sets of paired courses in their first year—a design studio integrated with a liberal arts seminar—that are intended to generate unexpected connections between the two classroom approaches. In the seminar, they explore concepts through critical analysis, presentation, reading, and writing—and in the studio they apply them through research, prototyping, and creative process. Students in these Integrative Studio and Seminar courses are able to select a thematic lens through which to approach the course material, choosing from such options as Avatar, Memory, Community Engagement, and Visual Culture.]]></description>
<dc:subject>design_education curriculum liberal_arts interdisciplinarity praxis</dc:subject>
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<item rdf:about="http://www.metropolismag.com/story/20120214/x-marks-the-spots">
    <title>X Marks the Spots [Studio-X] | Metropolis Magazine</title>
    <dc:date>2012-02-16T22:45:58+00:00</dc:date>
    <link>http://www.metropolismag.com/story/20120214/x-marks-the-spots</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[“The X just means we don’t know what’s going to happen,” he adds. This is the spirit of experimentation behind Studio-X, an ambitious global educational initiative currently underway at GSAPP. Equal parts learning space, public forum, and international think tank, Studio-X “affords an enormous bandwidth for thinking about the future of cities,” Wigley says—a mandate that he cites as the core mission of the program, and the reason he first proposed it four years ago... With sister offices now open in Mumbai, Amman, Beijing, and Rio de Janeiro, and more in the offing in South Africa and Japan, Studio-X New York is one spoke in a wheel of architectural activity that is at once international and intensely localized. The overseas branches aren’t intended to be subordinate to either Columbia or the Manhattan pilot office—“not like Starbucks selling some sort of wisdom from New York,” as Wigley puts it. They’re idea incubators in their own right, feeding new knowledge about how cities live and change into a greater community of thought... “It’s about expanding the notion of the university beyond the institution itself,” explains Jeffrey Johnson, the director of the New York–based China Megacities Lab, who has led groups of students on semiannual visits to Studio-X Beijing since it opened in 2009... Situated, like the New York studio, in the very heart of their respective downtowns, each Studio-X satellite operates as a discrete unit, with local directors setting a specific agenda. Yet all of the outposts, following the program’s mission, look to reinvigorate the urban conversation in their particular cities by engaging not just designers but culturally omnivrous thinkers from diverse backgrounds... Gavin Browning, who preceded Twilley and Manaugh at Studio-X New York, admits that the two halves of the Studio-X population are often “operating in separate spheres.”... The space’s social character is part of its appeal. “The potential for the contact there to be informal allows for discussions to take place that don’t take place in a more official setting,” says Jeffrey Inaba, the head of C-Lab, another fixture of Studio-X New York... And then there is the question of how the overseas locales are meant to work in concert with one another, as well as with the university. When they’re not being visited by one of the American student groups (which is to say, the majority of the year), the far-flung outposts operate entirely independently of Columbia. Although that gives them considerable leeway to chart their own course, it reduces the overall coherence of the program. “We all have access to each others’ planning calendars,” says Twilley, referring to her fellow Studio-X directors, “and I check what they’re up to.
But we haven’t translated that information into a coordinated series.”... Some of Studio-X’s satellites are located in places where certain political issues, the kind of things that might be spoken about freely on the campus of Columbia University, simply cannot be addressed. Wigley, who also sees the program as a vehicle for bringing corporate figures into architectural conversations, believes there’s room for healthy debate, but he tends to downplay the potential for outright conflict.  ]]></description>
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<item rdf:about="http://fillip.ca/content/re-the-serving-library">
    <title>Fillip / Re: The Serving Library   (Dexter Sinister and Eric Fredericksen)</title>
    <dc:date>2012-01-12T08:16:14+00:00</dc:date>
    <link>http://fillip.ca/content/re-the-serving-library</link>
    <dc:creator>shannon_mattern</dc:creator><description><![CDATA[The term “The Serving Library” came out of a conversation with Nick Relph in Los Angeles. I was talking about my interest in establishing something along the lines of what I suppose I think of as the classically English, typically Soho-based, explicitly elitist and implicitly chauvinistic men’s club. I’m interested less in the chauvinism and elitism, obviously, and more in the idea of a cellar-like hangout, open during the daytime in order to escape the sun and traffic; equal parts intellectual and social—or literate and drunk. I’m also attracted to the perversity of the idea of such an institution being situated in Los Angeles, which would seem to be about as antithetical a location as possible for such an establishment... I think that the emphasis on the “institutionality” of The Serving Library may be misplaced, or at least overemphasized. Setting up The Serving Library as a larger organization with more people involved, with an explicit mission statement, a board of directors, yearly tax audits, and all the rest of the accompanying furniture adds up to something that is an institution, not a critique of institutions, nor a model of an alternative institution. Whereas perhaps with Dexter Sinister we were attempting to model an approach, I think that here we’re trying to make it concrete. Our model has been taught us, now it is time to build the real thing... It seems that there’s a lazy tendency to file many of our projects under Institutional Critique. I’m pretty sure that’s wrong in terms of intentions and results, but most importantly in terms of spirit. In fact, Institutional Affirmation would be much more accurate. For example, projects like the True Mirror project at the 2008 Whitney Biennial, Dot Dot Dot 15 produced on location at the Contemporary Art Centre in Geneva, or True Mirror Microfiche at the ICA [Institute of Contemporary Arts] in London would be impossible without close coordination, consent, and trust on behalf of the commissioning institutions. ]]></description>
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<item rdf:about="http://tmagazine.blogs.nytimes.com/2010/01/20/hands-on-the-gropius-touch/">
    <title>Hands-On | The Gropius Touch - T Magazine Blog - NYTimes.com</title>
    <dc:date>2010-01-25T21:44:26+00:00</dc:date>
    <link>http://tmagazine.blogs.nytimes.com/2010/01/20/hands-on-the-gropius-touch/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>pedagogy design_education bauhaus ums</dc:subject>
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<item rdf:about="http://www.dextersinister.org/MEDIA/PDF/criticalfaculty.pdf">
    <title>Dexter Sinister: Toward a Critical Faculty</title>
    <dc:date>2009-10-04T14:24:01+00:00</dc:date>
    <link>http://www.dextersinister.org/MEDIA/PDF/criticalfaculty.pdf</link>
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<item rdf:about="http://www.educatorresourcecenter.org/">
    <title>Cooper-Hewitt, National Design Museum | Education at Cooper-Hewitt</title>
    <dc:date>2007-10-22T03:06:05+00:00</dc:date>
    <link>http://www.educatorresourcecenter.org/</link>
    <dc:creator>shannon_mattern</dc:creator><dc:subject>design_education design_research</dc:subject>
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