Bronze, plants, 3d printing and ultra-connected students : Thomas Heatherwick’s contemporary take on learning facilities.
Italian design school Domus Academy has recruited leading creatives – including Patricia Urquiola, Joseph Grima, Hans Ulrich Obrist and Alice Rawsthorn – to form a panel that will help the school « revolutionise » its teaching.
For OBJECTION’s second event 02_ INSTRUCT / DESTRUCT we invited Giovanni Innella and Tal Drori to present their Moneychanger.
On top of being a specialist of school furniture German manufacturer VS Vereinigte Spezialmöbelfabriken has created on its own website an amazing interactive online School Museum dedicated to the history of educational furniture from the end of the 19th century till today.
Can a piece of furniture help a child learn better? Can it keep her more focused during her lessons, or make him feel less aggressive in the classroom? Konstantin Grcic thinks so. To prove it, the Munich-based designer has created the Pro chair, a new archetype of seating for educational settings.
It is not possible to speak about education without mentioning Sir Ken Robinson. Therefore, we decided to introduce you to his vison with the wonderful RSA Animate « Changing education paradigms » based on a conference he gave at the Royal Society for the encouragement of Arts, Manufactures and Commerce.
Finnish students will no longer be taught handwriting at school, with typing lessons taking its place, it’s reported.
In 2013, as part of her graduation project On Design Education, Eugenie Delariviere decided to write a letter to Thomas Widdershoven, freshly appointed Creative Director of the Design Academy Eindhoven.
The Surrealists’ ideal state for making art was the twilight between wakefulness and sleep, when they would dredge up images from the murky subconscious and throw them onto the page or canvas. Proposing sleepwalking as an optimal widespread societal condition, André Breton once asked, “When will we have sleeping logicians, sleeping philosophers?”
Apple‘s head designer Jonathan Ive says he struggles to hire young staff as schools are failing to teach them how to make products.
The work was presented for the first time on the façade of the Royal College of Art’s historical headquarters, in South Kensington of London, shortly after the 175th anniversary from the college’s establishment (1837-2012).
I never planned to study architecture, but a visit to the Architectural Association in the early Seventies convinced me that it was more like an art school. The outcome of a ‘good architectural project’ was an airbrushed piece, a collage or a performance. Hardly any buildings were going up in London.
I was in Iceland when I was first asked if I knew what was going on at the Royal College of Art
Dirty Art Department, Amsterdam Five years ago the Sandberg Instituut invited designer Jerszy Seymour to set up a new post-grad programme in Applied Arts to challenge students to “critically question the discourses structuring the field of art and design” and “engage with social reality as hybrid artist-designers”.
Educators, researchers, and students are discovering the benefits and advantages of cooperative, active, and engaged learning. Classroom spaces that support such a shift in teaching and learning have lagged behind. A significant opportunity exists for maximizing learning opportunities and creating meaningful experiences by rethinking the classroom experience.
Designers collaborate across disciplines, give and take constructive criticism, and embrace failure in the process of solving problems. Wouldn’t children benefit from developing the same skills in school?