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3ELENA !NDERS

3ARAH "ACK

%RIKA $EVONES

+ARL *OHANN (AKKEN

%RIKA 3CHULZ

0AMELA 3TEINER &ACILITATORS 3AMAR (ECHAIME

%DWARD +EEGAN #ONTRIBUTOR "ARBARA !NDREWS

7ITH SPECIAL THANKS TO 3HANNON #ARTER AND #RAYONS TO #OMPUTERS OF #INCINNATI /( 4EACHER 2ESOURCE #ENTER OF #HICAGO ), AND THE LONG LIST OF TEACHERS

ADMINISTRATORS AND STUDENTS IN THE #HICAGO 0UBLIC 3CHOOL SYSTEM FOR THEIR TIME AND EFFORTS

&IRST EDDITION PUBLISHED BY !RCHEWORKS !PRIL .ORTH +INGSBURY #HICAGO )LLINOIS 53!

#OPYRIGHT 짜 BY !RCHEWORKS #REATIVE COMMONS

#ONTENTS

%PILOGUE 7HY WE LIKE #RAP 3TUFF *UNK #RAP

4HINKING INSIDE THE BOX ,ETTER FROM +ARL $ESIGN 2ESEARCH (OW TO START THINKING OF THINGS ! ,ETTER FROM "ARBARA !NDREWS !NALYTIC $ESIGN 4HE "AUHAUS &IELD .OTES 4HEORY OF 6ALUE

0ATTERNS %XECUTED 0ATTERNS (OW TO 4OUCH 3EE !TTACHMENT 7ITHDRAWAL (OW TO #ARD GAME !LPHABET .ETWORKS (OW TO &RAMES &RAMING )DEAS THAT WERE LEFT BEHIND )MAGINARY FRIENDS ,ANGUAGE #HEMISTRY #AVES AND 3HADES ,ETTER FROM %RIKA $

! #URE FOR $ESIGNERS "LOCK 4HE MYTH HISTORY OF $UAL $ESIGN 4HEORIZING #REATIVITY 4HE -IDDLE 2ANGE -ATERIAL 4RANSFORMATIONS +NOWLEDGESCAPES ,UDWIG -IES VAN DER 2OHE -ATERIAL %COLOGIES ,OUIS 3ULLIVAN ,ETTER FROM %RIKA 3

5SER .OTES 0LAYING AND ,EARNING 2ETURNING TO THE #HICAGO 3CHOOL 4HEORY /BJECTS ,ETTER FROM 3ELENA

! 7AY TO #OLLABORATE (ACKING 7ORKING 4OGETHER -IMESIS TO PIECES ,ETTER FROM 3ARAH

0ROLOGUE ,ETTER FROM 0AMELA

"IBLIOGRAPHY

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7HY WE ,IKE #RAP 4HERE IS ALWAYS MORE THAN ONE POINT OF VIEW -ORE THAN ONE WAY OF MAKING MEANING OUT OF SOMETHING )T S MORE OFTEN THE CASE THAT THERE ARE TOO MANY TO CHOOSE FROM 3O HOW DO WE LOOK AT SOMETHING TO EXTRACT THE INSPIRATION 0ART OF THE BEAUTY OF THIS BOOK IS THAT EVERYTHING IN IT HAS THE POTENTIAL TO WORK TOGETHER IN MANY COMBINATIONS AND FORMS JUST AS OUR GROUP HAS BEEN FORCED TO l ND A WAY TO DESIGN TOGETHER 7HERE ARE WE AT THE END OF THE PROCESS )T FEELS LESS THAN l NAL WE LL SAY THAT MUCH 7E CREATED A PRODUCT FOR OUR l NAL PROJECT THAT WANTS TO MOVE FORWARD AND IT DEPENDS ON YOU TO MEET THAT GOAL 0ERHAPS YOU WILL BE A SUPPLIER OF RAW MATERIALS OUT OF WHICH SUPPLIES FOR THE CLASSROOM WILL BE CREATED /R MAYBE YOU ARE A CONSUMER WHO SEES ROOM FOR IMPROVEMENT IN THE MATERIAL AVAILABLE TO STUDENTS AND TEACHERS 4HIS BOX NEEDS YOU /R ARE YOU A CONTRIBUTOR TO DESIGN THROUGH DESIGNING 0ERHAPS YOU WOULD START TO INCORPORATE THE GARBAGE GENERATED AND DONATED

BY LARGE COMPANIES /UR PROJECT WILL LIVE ON AS LONG AS SOMEONE IS THINKING ABOUT IT AND WORKING TOWARDS IMPROVING SOME ASPECT OF THE PROCESS !ND BELIEVE US

WE KNOW THERE IS ROOM FOR IMPROVEMENT 7E ASKED TEACHERS TO COMPLAIN ABOUT THE STATE OF THEIR CLASSROOMS 4EACHERS DIDN T HAVE TO THINK FOR VERY LONG TO GENERATE A LONG LIST OF PROBLEMS /NE TEACHER

HAS SO FEW BOOKS AVAILABLE TO HIS STUDENTS THAT THE MATERIALS MUST REMAIN IN THE CLASSROOMS THEREFORE NO STATE MANDATED TEXTBOOK READING CAN BE ASSIGNED AS HOMEWORK 7ITH THE HE SPENDS EVERY YEAR ON SUPPLIES FOR HIS CLASSROOM HE CANNOT AFFORD TO MAKE COPIES FROM THE BOOKS NOR CAN HE BUY MORE BOOKS TO MATCH THE NUMBER OF STUDENTS IN THE ROOM !NOTHER TEACHER HAS FORTY SEVEN STUDENTS IN ONE ROOM ,UCKILY THE STUDENTS THEMSELVES ARE RATHER SMALL SINCE THEY ARE ONLY IN SECOND GRADE 5NFORTUNATELY SO IS THE ROOM 4HE FORTY SEVEN STUDENTS AND TWO TEACHERS ARE USING A CONVERTED COMPUTER LAB AS ALL OTHER CLASSROOMS WERE l LLED 7HILE WE COULDN T THINK OF WAYS TO MAGICALLY BUILD OUT THEIR CLASSROOM WE ATTEMPTED TO ENGAGE TEACHERS IN A DIALOGUE IN AN EFFORT TO IMPROVE THEIR ENVIRONMENT 4HIS DIALOGUE DIDN T REQUIRE US TO BE ANYTHING BUT INTERESTED IN THE STRUGGLES THEY FACE ON A DAILY BASIS (OW WILL YOU ENGAGE AND INSPIRE )NSPIRING CHANGE IS WHAT $UAL $ESIGN IS ALL ABOUT 'IVEN THE OPPORTUNITY TO INSPIRE THE NATION S THIRD LARGEST SCHOOL DISTRICT WHICH OPERATES OVER SCHOOLS AND STUDENTS WITH FREE LEARNING TOOLS WHAT WOULD YOU DO 7E ATTEMPTED TO ENGAGE STUDENTS AS WELL #HILDREN S IMAGINATIONS CAN l ND USES FOR SIMPLE THINGS

MAKING A CASTLE OUT OF A CARDBOARD BOX OR A FRIEND OUT OF NOTHING "UT WHAT ABOUT THE MORE COMPLICATED ODDS

AND ENDS ,IKE PINK ,UCITE BRACELETS 7HAT CAN ANYONE REALLY MAKE OUT OF THOSE 7ELL PUT IN THE HANDS OF ANY l VE YEAR OLD THE ANSWER IS OBVIOUS )NSTANT BOWLING ALLEY 7HY COULDN T SIX DESIGNERS THINK OF THAT )MAGINE ALL THE PILES OF MERCHANDISExTHE GIVEAWAYS FROM FAILED MARKETING CAMPAIGNS ODDS AND ENDS USED IN THE MANUFACTURING PROCESS SUCH AS PLASTIC TUBES

A PILE OF DISCARDED TINS $O THEY HAVE A PLACE /R ARE THEY JUST JUNK $O THEY HAVE THE POSSIBILITY TO INSPIRE #HICAGO S YOUTH 7ELL WE THINK THEY DO

! PENCIL IS NOT JUST A WRITING UTENSIL IT CAN ALSO HOLD YOUR HAIR UP IN A PINCH ! RUBBER BAND IN A MISCHIEVOUS CHILD S HANDS DOUBLES AS A SLINGSHOT (OW DO WE

h&REEv MATERIALS ARE FREE FOR A REASON 7E CAN NEVER DEPEND ON A SUPPLIER OR FACILITY TO OBTAIN THE MATERIALS WE NEED "UT WHAT IF THE PROBLEM IS A SOLUTION

MAKE THE SAME KIND OF TRANSFORMATION OF JUNK FOR A CLASSROOM 7E NEED A METHOD TO THE MADNESS

$ESIGNERS FREQUENTLY SAY THAT THE KEY TO MAKING A SUCCESSFUL PRODUCT IS BY LISTENING TO CONSUMERS "UT OUR INFORMANTS AREN T REALLY CONSUMERS (OW DO YOU TALK TO SOMEONE ABOUT THINGS WHEN THEY HAVE BEEN DOING WITHOUT THINGS FOR SO LONG THEY ALMOST SEEM SUPERm UOUS 4HIS HAS BEEN OUR BIG WEAKNESS 3OMETHING FROM NOTHING 7HY NOT NOTHING FROM NOTHING )MAGINARY FRIENDS ARE THE PERFECT ILLUSTRATION OF OUR IDEAS 7HY NOT MAKE IMAGINARY FRIENDS )T HELPED THAT WE WERE INTERESTED IN USING FREE MATERIALS TO EXECUTE OUR IDEAS !ND THAT WE DEVELOPED THIS PROCESS BUT WHAT IS THE PROCESS /UR PROCESS STARTED BY NOT TRYING TO BE WE AND NOT ME THERE MAY NOT BE AN ) IN TEAM BUT THERE IS A ME 4HAT IS THERE IS A TEAM HERE BUT ALSO SEVERAL

INDIVIDUALS 3O WHAT IS IMPORTANT TO THEM %ACH IDEA WE TAKE IN AT LEAST TWO WAYS 7ELL BEFORE SHE IS DONE EACH PERSON GIVES EACH PROJECT TO TWO OTHERS TO CONTINUE )N MOST CASES THEY DO TWO LITTLE THINGS AND THEN PASS IT ON

3O EACH THING CHANGES !ND IT ISN T THE SUM OF THE PARTS 7E DON T MAKE CONSENSUS ABOUT A PROJECT WE MAKE CONSENSUS ABOUT HOW TO DO IT 4WO LITTLE STEPS AT A TIME !ND BEFORE WE KNOW IT IT S DONE )T S BETTER

THAN DONE )T S TWICE AS GOOD AS IT COULD HAVE BEEN 7HAT WILL YOUR TWO LITTLE STEPS BE 4AKE A LOOK INTO THAT BOX 7E TOOK OUR WORKING PROTOTYPES AND OUR $ECEMBER PRESENTATION TO SHARE OUR IDEAS AND LEARN WHAT WE NEEDED TO DO TO MAKE THEM WORK FOR #RAYONS 4O #OMPUTERS 4HEY LOVED THE IDEAS AND THE DESIGNS "UT THEY SAID THEY COULDN T MAKE THEM n IT WAS TOO MUCH LABOR 3O HELP US IMPROVE THE PROCESS TO MAKE THE PRODUCTION POSSIBLE 7E NEED TO MATCH DESIGNERS AND EDUCATORS LIKE YOU WITH THE MATERIALS IN YOUR BOX (ERE ARE SOME STARTING POINTS INSTEAD OF HANDING EVERY CHILD AN IDENTICAL PACK OF SCHOOL SUPPLIES WE HAND THEM THE TOOLS TO HELP EACH OTHER LEARN n WE TAKE DUAL DESIGN TO SCHOOL ! HOME ECONOMICS CLASS CAN MAKE A DOZEN 4OUCH 3EE TOOLS FOR THE KINDERGARTEN AND PRESCHOOL CLASSES THAT THEY SHARE A NEIGHBORHOOD WITH 3TUDENTS WHO NEED SOME EXTRA CREDIT CAN MAKE THE CARDS FOR NEXT YEAR S CLASS /R A DESIGN SCHOOL CAN TAKE THE PROCESS AND START ALL OVER AGAIN WITH A NEW IDEA 5NDERSTAND THAT WE ARE NOT INTERESTED IN TRADEMARKING OR GETTING CREDIT 7E WANT OUR DESIGNS COPIED 7E WANT YOU TO TAKE OUR IDEAS 4AKE THEM TO #HINA 3TEAL THEM !ND THEN GIVE THEM AWAY FOR FREE 4IME RAN OUT YET WE HAVE REALLY ONLY BEGUN TO SCRATCH THE SURFACE /UR IDEAS GOT BIGGER WHILE OUR TIME GOT SHORTER "UT IT S NOT THE END ENTER INTO THE RELAY RACE

4WO LITTLE THINGS AT A TIME THEN PASS IT ON -AKE A DECK OF CARDS OR TWO 3EW TWO PAGES OF A 4OUCH 3EE BOOK AND THEN GIVE IT TO YOUR NEIGHBOR &IND TWO PROJECTS FOR A TEACHER TO HELP ANOTHER TEACHER AND TELL THEM 7HATEVER YOU CAN DO BEST

,ET S RETURN TO THE SAME INSPIRATION THE SAME CATALYST THAT WE DREW FROM

3TUFF *UNK #RAP 'OOD METAPHORS PLAY A CENTRAL ROLE IN DESIGN SOLUTIONS 3OMETIMES DESIGN SOLUTIONS START WITH A JOKE )T WAS SUGGESTED THAT THE RELATION BETWEEN THE h4OOLS FOR 3CHOOLSv IDEA THAT WE STARTED THE PROJECT WITH AND THE IDEA OF WABI SABII WAS AND THE BROKEN DOWN STATE OF THE CLASSROOMS #ONFRONTED WITH RIGID CURRICULUM STANDARDS AND INCONSISTENT JUNK OUR TEAM HAS HAD MOMENTS OR EVEN HOURS WHERE THE PROJECT SEEMS LIKE WE RE ASKING A TURTLE TO RUN 4HE METAPHOR ITSELF IS INSIGNIl CANT A SECOND OF SELF INDULGENT MEANING BUT IT DOES EVOKE A RESPONSE 'OOD METAPHORS HAVE DEPTH AN ACCIDENTAL NON ARTIl CIAL FRESHNESS THE MEANING COMES OUT OF REPEATED ENCOUNTERS -ETAPHORS ESTABLISH A POINT OF PERSPECTIVE A MEDITATIVE FOCAL POINT

BY JUXTAPOSITING TWO MEANINGS 7ABI SABI IS A JUXTAPOSITION OF TWO TERMS SUBTLY PROFOUND AND AUSTERELY SUBLIME AND SUGGESTS THAT BEAUTY IS A DYNAMIC EVENT AN ACTION RATHER THAN AN IDEAL 7HEN YOU FREEZE THE FRAME YOU HAVE TO BE AWARE ,EARNING COULD ALSO BE DESCRIBED AS A DYNAMIC EVENT A REMEMBERED MOMENT OF PLAY NOT A SERIES OF LEARNED GAMES &ROM THIS PERSPECTIVE A LEARNING OBJECT NEEDS TO BE AN EFl CIENT INCENTIVE TO PLAY 7HAT WOULD THAT BE IN A WABI SABI UNIVERSE

4HE DESIGN OF THIS PROCESS IS MORE THAN AN ALGORITHM #REATING OBJECTS FOR THE CLASSROOM OUT OF SUSTAINABLE MATERIALS KNOWN INCREASINGLY AS FOUND OBJECTS IS CLOSER TO POETRY /UR PROCESS AND RECIPES MUST REm ECT A

CERTAIN APPROACH WHICH CAN BE COPIED 7E TRIED TO USE THIS SUGGESTED METAPHOR TO ENRICH OUR IDEAS OF THE GOALS AND MEANS OF OUR SHARED PROJECT 2EADING ,EONARD +OREN S 7ABI SABI AND DISCUSSING THE THAT IT SUGGESTED PROVED TO BE THE TURNING POINT FOR US BOTH IN REALLY UNDERSTANDING THAT OUR PROBLEM IS PROCESS AND IN APPRECIATING THE VARIETY AND RICHNESS OF EACH OTHER S PERSPECTIVES ! FEW IDEAS STILL STAND OUT FOR US 4HINGS ARE IMPERMANENT INCOMPLETE AND IMPERFECT +OREN ASKS THE QUESTION h(OW DO YOU EXERCISE THE RESTRAINT THAT SIMPLICITY REQUIRES WITHOUT CROSSING OVER INTO OSTENTATIOUS AUSTERITY v AND ANSWERS hTHE MAIN STRATEGYxIS ECONOMY OF MEANSv 4O ME WABI SABI IS MORE ABOUT ECONOMY OF MEANING THAN MEANS 0ERCEPTION GROUPS ITEMS AND CONTINUES PATTERNS FOR EXAMPLE l LLING IN MISSING ELEMENTS A SERIES OF DOTS IS SEEN AS A DOTTED LINE 7ABI SABI IS FULL OF EXAMPLES WHERE ITEMS ARE ISOLATED AND PATTERNS ARE NEARLY COMPLETED 4HE WEATHERED BOARD DOES NOT ASK YOU WHAT MAY HAPPEN TO IT 4O LEARN WE SUPPOSEDLY NEED A hQUIETv ENVIRONMENT 7HEN DESCRIBING AN IDEAL LEARNING SPACE OUR GROUP INSISTED ON HAVING THINGS TO LOOK AT ROOM TO ADJUST CHANGE POSTURE AND EVEN INCLUDED PLEASANT WHITE NOISE 4HE STRATEGY IN USE MAY BE A NATURAL APPROACH TO ACHIEVING AN OPTIMAL SIGNAL TO NOISE RATIO

)N READING AND UNDERSTANDING THE TEXT OF 7ABI SABI ONE IS REQUIRED TO UNDERSTAND THE BALANCE OF HAVING AND NOT HAVING AND REALIZING THAT BOTH TRAITS ARE INTRINSIC TO SUCCESSFUL AND LASTING DESIGN +NOWING FROM THE START THAT YOU AS A DESIGNER WILL NEED TO ACCOMMODATE BOTH QUALITIES ALLOWS FOR A DESIGN THAT WILL HOPEFULLY HAVE A SMALL BUT LASTING FOOTPRINT 7E WANT TO CREATE AN IMPACT ON THOSE WE ARE DESIGNING FOR UNDERSERVED SCHOOL CHILDREN BUT WE DO NOT WANT TO CREATE AN EXCESSIVE IMPACT ) CAN RELATE THIS IDEA BACK TO AN EXAMPLE IN THE TEXT WHERE THE AUTHOR ARRIVED AT A 4EA (OUSE %XHIBITION EXPECTING TO SEE THE GREATEST EXAMPLES OF WABI SABI DESIGN )NSTEAD HE WAS CONFRONTED WITH ORNATE AND EXCESSIVE hTEA PALACESv THAT COMPLETELY OVERWHELMED THE CEREMONY OF TEA ITSELF 5SING THIS PERSPECTIVE IN OUR PROJECT WE NEED TO REALIZE THAT THE ANSWERS WE NEED THE MATERIALS WE WANT TO DESIGN WITH THE QUALITIES WE ARE LOOKING FOR ARE DIRECTLY IN FRONT OF US 7E SIMPLY SIMPLY SAID NOT NECESSARILY SIMPLY DONE NEED TO LISTEN AND OBSERVE BEFORE WE CAN DESIGN 7E CANNOT COME INTO THESE COMMUNITIES AND LEARNING ENVIRONMENTS AND EXPECT TO hl Xv AND MAKE BETTER THE SITUATION 7ITHOUT l RST REALIZING THE QUALITY OF THE SITUATION WE WILL BLINDLY DESIGN A PURPOSELESS PROGRAM AND THE END RESULT WILL HAVE SIMILAR QUALITIES TO THE FUNCTIONAL YET DYSFUNCTIONAL TEA HOUSES MENTIONED BY THE AUTHOR

4HE INTRINSIC QUALITIES THAT DEl NE THE COMMUNITIES AND GROUPS WE ARE DESIGNING FOR WILL SET THE RULES 7E ARE NECESSARY TO FACILITATE THE PROCESS AND THE PROGRESSION TO IDENTIFY ISSUES AND WORK TOWARDS A PROGRAM THAT IS BOTH HELPFUL AND WELL DESIGNED 7E DO NOT WANT TO ADD TO THE ACCUMULATION OF hTHINGSv PREVIOUS WAYS OF SOLVING THIS PROBLEM THAT ALREADY EXIST 7E ARE HOPING TO BECOME PART OF THE BEAUTY OF HAVING ONE GREAT hTOOLv WHICH ALLOWS YOU TO CLEAR OUT THE MANY UNNECESSARY ONES 4HE BEAUTY OF hTHINGS IMPERFECT MODEST HUMBLE

AND UNCONVENTIONALv IS NOT SUCH A DIFl CULT CONCEPT TO GRASP 4HE IRREGULARITIES FOUND IN NATURE AND THE APPRECIATION OF ITS BEAUTY MAY BE A TRADITIONAL AND MORE FORMALIZED CONCEPT IN *APAN BUT NOT NECESSARILY EXCLUSIVE TO THIS PARTICULAR CULTURE .INETEENTH CENTURY %UROPEAN ARTISTS FELT THE IMMENSITY AND POWER OF NATURE AND UTILIZED IT AS A MUSE FOR THEIR ARTS 4HEIR APPRECIATION FOR NATURE EMERGED DURING A PARTICULAR PERIOD OF REVOLUTION IN WHICH THEIR UNDERSTANDING OF SELF AND THEIR PLACE IN THE WORLD RESULTED IN A GREATER APPRECIATION OF NATURE AND ITS CONSTANT CHANGES 7E ARE IN NO WAY TRYING TO MAKE LIGHT OF THE *APANESE AESTHETIC OF WABI SABI BY COMPARING IT TO %UROPEAN ARTS BUT DO SO IN ORDER TO POINT OUT THAT AN APPRECIATION FOR THE BEAUTY OF NATURE IS NOT EXCLUSIVE TO WABI SABI )T IS THE PARTICULAR HISTORICAL

CULTURAL CONTEXT IN WHICH WABI SABI BEGAN AND THE CEREMONIES THAT IT IS ASSOCIATED WITH THAT MAKES IT UNIQUE TO *APANESE CULTURE AND TRADITION WABI SABI IS AN AESTHETIC CONCEPT THAT WAS A REACTION TO THE FOREIGN IDEALS OF BEAUTY THAT DOMINATED THE *APANESE CULTURAL LANDSCAPE DURING THE EIGHTEENTH CENTURY 4ODAY THIS CONCEPT HAS A PARTICULAR PLACE IN *APANESE CULTURE BOTH PAST AND PRESENT 7HILE WE ADMIT TO NOT HAVING MUCH UNDERSTANDING OF WABI SABI WE FEEL THAT +OREN S ATTEMPT AT hSAVINGv WHAT HE CONSIDERS TO BE A hCOMPREHENSIVE AND CLEARLY RECOGNIZABLE AESTHETIC UNIVERSEv IS WRONG )T IS NOT FOR HIM TO DECIDE THAT THIS TRADITION SHOULD BE SAVED 7ABI SABI IS NOT FROM OUR UNDERSTANDING OF THE READING A CONCRETE REPRODUCIBLE CONCEPT )T IS NOT AN OBJECT THAT CAN BE MASS PRODUCED FOR ALL )T IS A WAY OF THINKING ! PROCESS OF DOING THINGS THAT EXPOSES BEAUTY TO DIFFERENT PEOPLE IN VARIOUS WAYS 4HE LINK BETWEEN WABI SABII AND OUR PROJECT IS THE INHERENT UNPREDICTABILITY OF OUR PROJECT 7E CAME TO THE CONCLUSION THAT THE FOCUS OF OUR PROJECT SHOULD BE ON CREATING A PROCESS TO INSPIRE EDUCATORS AND STUDENTS

BY MAKING USE OF THE UNPREDICTABILITY OF EDUCATION "Y DOING THIS WE FOCUSED NOT ONLY OUR OWN ENERGIES ON l NDING OUT WHAT THEY NEED IN TERMS OF GENERAL SUPPLIES SUCH AS PENCIL AND PAPER BUT HELP TEACHERS AND STUDENTS MAKE EDUCATIONAL USE OF THE MOST BASIC AND SEEMINGLY UGLY USELESS JUNK THEY MAY BE SURROUNDED BY 7E UNDERSTAND THE INHERENT PROBLEMS ASSOCIATED WITH TRYING TO PROVIDE FREE RESOURCES TO TEACHERS ˆ

EVERY TEACHER AND STUDENTS NEEDS ARE DIFFERENTˆBUT WE HAVE TRIED TO CREATE A PROCESS THAT WILL ALLOW PEOPLE TO MAKE USE OF THE UNEXPECTED AND TO l ND BEAUTY IN UNCONVENTIONAL OBJECTS 7ABI SABI DEEPLY ROOTED IN A PARTICULAR HISTORICAL CULTURAL CONTEXT DOES NOT NEED SAVING

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2ESEARCH 0ROBLEMS 4HIS IS A BOX !ND DESIGN IS ABOUT THINKING OUTSIDE THE BOX "UT WHAT DOES THIS REALLY MEAN $ESIGNING SOMETHING OTHER THAN A hWELL CONDITIONED SHED v ANOTHER LITTLE BOX "UT THROUGH OUR RESEARCH WE KNOW THAT CHILDREN DO THE MOST CREATIVE THINKING INSIDE THE BOX 4HAT S BECAUSE WHATEVER YOU TELL A CHILD TO DO THEY WILL DO THE OPPOSITE 3O WHILE WE ARE TRYING TO GET INSIDE OUR CLIENT S MINDS WE LL HAVE TO THINK INSIDE THE BOX

! ,ETTER FROM +ARL ! LETTER TO $ESIGNERS ABOUT 2ESEARCH !FTER MANY YEARS OF DESIGNING EDUCATIONAL TECHNOLOGIES ) FOUND MYSELF SOME YEARS AGO THINKING VERY HARD ABOUT THE RESEARCH THAT GOES IN TO PREPARING DESIGN )T DOESN T TAKE MUCH LOOKING AROUND TO SAY THAT REALLY THERE ISN T MUCH AT ALL )N #AMBRIDGE 5NIVERSITY THREATENED TO SHUT DOWN ITS 3CHOOL OF !RCHITECTURE IF THE QUALITY OF RESEARCH THERE DID NOT IMPROVE 4HOSE OF US WHO HAVE LIVED IN ACADEMIA FOR SOME TIME KNOW THAT THESE THREATS ARE THE MOST SERIOUS A UNIVERSITY IS LIKELY TO MAKE NO OTHER REASON IS QUITE AS LIKELY TO SHUT DOWN AN OTHERWISE WELL RESPECTED AND WELL FUNCTIONING DEPARTMENT /NE HOPES THAT THE FACULTY THE FACULTY AT #AMBRIDGE HAVE RISEN TO THE CHALLENGE AND THAT THEY MIGHT INSPIRE US TO ALL IMPROVE OUR RESEARCH SKILLS "UT ) THINK THAT EACH OF US NEEDS TO LEARN HOW TO RISE TO THE CHALLENGE OURSELVES $ESIGNERS FREQUENTLY CREATE BEAUTIFUL IMAGES FROM REALLY LOUSY DATA ) OFTEN GET THE IMPRESSION THAT THEY BELIEVE THAT MOST DATA IS MADE UP ANYWAY

SO WHY SHOULD IT MATTER IF THEY COOK UP SOME FAKE INFORMATION ABOUT USE PATTERNS AND PRESENT IT AS IF IT REPRESENTS AN OBJECTIVE WORLD 4HE THING THEY MAKE LOOKS NICE SO WHO CARES 4HE ANSWER OF COURSE IS THAT WHEN IT TURNS OUT TO BE POORLY MADE WE ALL CARE $ESIGN IS A DISCURSIVE

SCIENCE BUT THAT DOESN T MEAN THAT IT EXISTS ONLY IN SOME DESIGNER S HEAD $ESIGN IS A MATERIAL PRACTICE WHATEVER WE MIGHT IMAGINE OTHERWISE 4HAT MEANS IT HAS TO REALLY EXIST AND SUCH AN EXISTENCE IMPLIES THAT IT IMPACTS THE LIVES OF OTHERS FAR MORE THAN IT IMPACTS THE DESIGNER S LIFE 4HAT IS THE ESSENCE OF GOOD DATA GETTING INTO THE SAME ACTION SPACE AS SOMEONE WHO IS GOING TO USE A DESIGN NOT JUST CONSUME IT AS PART OF A DIALOGUE ABOUT DESIGN !ND GETTING INTO SOMEONE ELSE S HEAD IS WHAT ETHNOGRAPHY IS ALL ABOUT 4HINKING THIS WAY ISN T NEW IT S MORE THAN TWENTY l VE YEARS AGO NOW THAT AN ANTHROPOLOGIST STARTED TO WORK ON PRODUCT DESIGN RESEARCH AT 8EROX 0!2# "UT ALL THAT TIME AND ALL THAT RESEARCH AND WE STILL AREN T DOING RESEARCH BASED DESIGN MOST OF THE TIME 7E STILL HAVEN T THOUGHT TOO MUCH ABOUT HOW IT MIGHT HAPPEN EXCEPT ON A CASE BY CASE BASIS !NTHROPOLOGISTS HAVE BEEN EDUCATED FOR A LONG TIME BY PREPARING THEM WITH A TOOLKIT THAT HELPS THEM SEE THE WORLD IN MANY DIFFERENT WAYS 4HOSE DIFFERENT WAYS ARE ABOUT PRODUCING A CERTAIN KIND OF DATA 4HE SAME KIND OF DATA THAT WE REALLY NEED TO PRODUCE GOOD DESIGN 4HEY LOOK NOT ONLY AT WHAT IS CLAIMED BUT WHAT PARTS OF IT ARE TRUE &OR EXAMPLE IT IS FREQUENTLY THE CASE THAT A HEAVILY DESIGNED OBJECT IS LESS

USABLE OR LESS DURABLE THAN ONE WHICH IS MERELY MANUFACTURED TO SERVE A PURPOSE !ESTHETIC CONSIDERATIONS OR HIGH CONCEPT DESIGN IDEAS CHARACTERIZE TODAY S DESIGN PRACTICES %VEN IN THE PLACES WHERE hDESIGNv IS IN THE SERVICE OF MAKING OBJECTS WHICH ARE IMAGINED TO MERELY DO WHAT THEY DO BETTER FOR EXAMPLE IN THE VARIOUS OUTDOORS STORES WHERE QUITE SERVICEABLE SOLUTIONS GIVE WAY TO INCREASINGLY HIGH TECH FABRICS AT HIGHER COSTS &REQUENTLY FOR NO OTHER REASON THAN MORE IS MORE BUT WHO REALLY NEEDS A BULLET PROOF LAPTOP CASE $ESIGN THEN CANNOT REALLY BE ABOUT MAKING THINGS MERELY MORE USEFUL ALTHOUGH IT IS REASONABLE TO INCLUDE hBETTER QUALITYv IN OUR DISCUSSIONS OF DESIGN "ETTER DESIGN HOWEVER MUST MEAN SOMETHING ELSE ,IKE A BETTER EDUCATION IT MEANS SOMETHING WHICH WE VALUE DESPITE ITS ACTUAL QUALITIES SOMETHING WE VALUE BECAUSE OF THE QUALITIES WE IMAGINE IT TO HAVE !ND BETTER DATA MEANS BEING HONEST ABOUT THE INFORMATION THAT IS RIGHT IN OUR FACE EVEN WHEN IT IS INCONVENIENT )T MEANS ASKING THE TOUGH QUESTIONS BECAUSE THEY NEED TO BE ASKED )T MEANS BEING HUMBLE ENOUGH TO NOT ASSUME WE ALREADY KNOW THE ANSWER JUST BECAUSE WE HAVE AN ENGINEERING WORKAROUND +ARL *OHANN (AKKEN !PRIL

$ESIGN 2ESEARCH )N RESEARCH BASED DESIGN THE DESIGNERS ARE PARTICIPANT OBSERVERS 4HEY USE l ELDWORK AND ACTUALLY WATCH THE USERS IN THEIR NATURAL ENVIRONMENT TO HELP UNCOVER UNSTATED DESIRES OR CULTURAL ASSUMPTIONS -ETHODS MIGHT INCLUDE DIRECT OBSERVATION INTERVIEWING

FORMAL AND INFORMAL CONVERSATIONS WITH THE USERS AND CONSULTANTS THAT ARE EXPERTS IN THE l ELD PROBLEM ORIENTED RESEARCH AND TEAM RESEARCH /UR TEAM OBSERVED STUDENTS IN THE CLASSROOM AND SPOKE WITH TEACHERS TO DEl NE THE PROBLEM $El NING THE PROBLEM FROM OBSERVATION 7E BEGAN OUR RESEARCH WITH APPROXIMATELY HOURS OF ETHNOGRAPHIC INTERVIEWS WITH TEACHERS AND INSTITUTIONAL MANAGERS IN THE #HICAGO AREA 4HIS HELPED US ACHIEVE THREE CONCLUSIONS &IRST THE PROBLEMS WITH EDUCATIONAL MATERIALS HAVE LESS TO DO WITH LACK OF SMALL SUPPLIES PENCIL AND PAPER AND MUCH MORE TO DO WITH THE QUALITY OF MAJOR EQUIPMENT PHOTOCOPIERS PROJECTORS AND THE LIKE OR THE PHYSICAL ENVIRONMENTS THEMSELVES 3ECOND THE STATE OF THE PHYSICAL ENVIRONMENTS IS SO TIGHTLY INSTITUTIONALLY CONTROLLED THAT CHANGE AT THAT LEVEL WILL REQUIRE EXTRAORDINARY AMOUNT OF EVIDENCE SUPPORTING IT 4HIRD TEACHERS AND STUDENTS ARE FREQUENTLY UNAWARE OF THE ROLE THAT AESTHETICS PLAYS IN THE SHAPING OF THEIR LEARNING ENVIRONMENT AND

CONSEQUENTLY UNINTERESTED IN AFFECTING CHANGES ON THEIR OWN !CTION AND ADJUSTMENT )T IS AN INTERACTIVE PROCESS TRY LEARN AND TRY AGAIN &OR THIS REASON WE RETURNED TO THE CLASSROOMS THROUGHOUT THE COURSE OF THE YEAR 7E ADJUSTED OUR IDEAS AND CHANGED OUR DESIGNS TO CREATE ANOTHER VERSION 0ARTICIPATORY ACTION RESEARCH NOT ONLY OBSERVES AND TESTS OUT A THEORY BUT WORKS WITH AND ENGAGES THE COMMUNITY 7E NEEDED TO PLACE THE PROBLEM IN A LARGER CONTEXT SO WE LOOKED AT THE SOCIAL AND HISTORICAL BACKGROUND OF EDUCATION 2APIDLY #HANGING 7ORLD 3LOWLY #HANGING %DUCATION 3YSTEM !SK AROUND (AVE CLASSROOMS CHANGED SINCE THE S !RE THEY STILL BASICALLY THE SAME ! WHITE BOARD OR CHALK BOARD

A ROW OF SEATS TEXTBOOKS IF YOU RE LUCKY 4HINK ABOUT WHERE YOU DO YOUR BEST WORK n THE LOCATION AND THE TOOLS YOU HAVE VERY LIKELY PLAY AN IMPORTANT ROLE 4EACHERS AND STUDENTS MAY HAVE LOST SIGHT OF THEIR ANCIENT ABILITY TO SHAPE THEIR EDUCATIONAL ENVIRONMENTS 7HY -OST OF THE ENERGY DIRECTED AT SCHOOL REFORM FOCUSES ON l NANCIAL REFORM n DIFl CULT AT THE BEST OF TIMES n OR OCCASIONALLY ON hCOMMUNITY BUILDINGv n WHEN ACCORDING TO 7ILLIAM *ULIUS 7ILSON COMMUNITY IS CLEARLY

THE SOURCE OF DISADVANTAGE RATHER THAN THE SOLUTION 4HE MATERIAL CONDITIONS OF LEARNING THE DAY TO DAY SURROUNDINGS OF KIDS HAVE NOT CHANGED SUBSTANTIALLY SINCE THE .EW $EAL DESPITE SIGNIl CANT CHANGES IN CULTURE WORK AND TECHNOLOGY -ODELS FOR LEARNING IMPROVEMENT BASED ON WHAT &OUCAULT CALLS hDISCIPLINE AND PUNISHv INCREASING TESTING PERFORMANCE METRICS AND OBSERVATION LIKE THE .O #HILD ,EFT "EHIND !CT DO LITTLE TO ADDRESS THE GROWING CULTURE GAP FOR THE TRULY DISADVANTAGED v 4HE MATERIAL CONDITIONS OF THE CLASSROOMS REm ECT A MODEL OF LEARNING WHICH IS IN THE BEST CASES SERIOUSLY OUTDATED AND IN THE WORST CASES FAILS TO REm ECT THE CULTURAL VALUES OF EITHER STUDENTS OR TEACHERS $ESIGN FOR ,EARNING 7HAT IF LEARNING WAS PLEASANT %DUCATION IS ABOUT REl NING AND BROADENING OUR PERCEPTION OF THE WORLD /UR SENSES ARE PART OF THAT PERCEPTION !ESTHETICS STUDIES THE QUALITY AND NATURE OF SENSORY RESPONSES 7E ALL SHAPE OUR ENVIRONMENT 7E TAKE GREAT CARE IN DECORATING OUR PERSONAL SPACES AND RELATE TO OBJECTS WE OWN 4O OUR MIND BRINGING CULTURAL AESTHETICS INTO THE CLASSROOM WAS A WAY TO CREATE A NEW VISION FOR THE FUTURE A NEW SELF FULl LLING PROPHECY "UT WE COULDN T DO THIS ALONE 7E NEEDED TO ACTIVELY AND CRITICALLY EXAMINE THE COMMUNITY WITH ITS HELP AND IMPROVE OUR PROCESS AS WE WENT ALONG 4HIS IS KNOWN AS 0ARTICIPATORY !CTION 2ESEARCH

4HE NEXT STEP WAS TO PROTOTYPE AN !CTION 2ESEARCH PROJECT TO TEASE OUT THE hSMALL CULTURESv OR hGLOCALITIESv OF A LEARNING COMMUNITY 4HIS WOULD HELP US TO LEARN TO ASK THE RIGHT QUESTIONS AND START RELEVANT DIALOGUES 7E WANTED TO DEVELOP A COMPARATIVE DIALOGUE ABOUT THE ROLE OF CULTURAL AESTHETICS IN LEARNING /F WHAT THEY THOUGHT WAS INSIDEx 7HICH APPARENTLY INCLUDED A RAINBOWx !ND A GIRL WITH BIG HAIRx

#LASSROOM !CTION 2ESEARCH )NTERVENTIONS 7E DESIGNED OUR CLASSROOM !CTION 2ESEARCH ACTIVITY BASED UPON A WORKSHOP THAT WE EXPERIENCED OURSELVES WHEN $R "ARBARA !NDREWS A TWENTY YEAR VETERAN OF AESTHETIC EDUCATION SHARED HER KNOWLEDGE AND INSIGHTS WITH US

!ND A FAMILYx

7E TESTED OUT A SIMPLIl ED VERSION IN A #HICAGO KINDERGARTEN CLASS 4HE SESSION HELPED INFORM OUR DESIGNS THROUGHOUT THE REMAINDER OF THE YEAR 7E STARTED WITH ASKING THE STUDENTS TO LISTEN FOR SOUNDS 4HEN WE HAD THE STUDENTS USE THEIR SENSES TO TRY TO DESCRIBE WHAT THEY FELT IN THEIR HANDS 4HEN WE HAD THE STUDENTS DRAW WHAT THEY HAD SAW IN THEIR MIND 4HEN WE HAD THE STUDENTS EXCHANGE OBJECTS WITH THE PERSON NEXT TO THEM &INALLY WE HAD THE STUDENTS TALK WITH THE STUDENT NEXT TO THEM ABOUT WHAT THEY HAD !ND WHEN WE ASKED SOME FOUR YEAR OLDS ABOUT IT THEY DREW US SOME PICTURESx

(OW TO 3TART 4HINKING OF 4HINGS 7E THINK ALL THE TIME AND LOTS OF THE TIME WE ARE THINKING ABOUT THINGS "UT WHAT GETS US TO THINK OF THINGS 7HAT WE MEAN IS 7HAT MAKES YOU THINK ABOUT HOW TO MAKE A TOASTER OR A CRAYON OR A STICKY NOTE 9OU HAVE TO START BY THINKING ABOUT THE MATERIAL QUALITIES OF THINGS (ERE S SOME SIMPLE EXERCISES TO GET YOU STARTED THINKING CREATIVELY ABOUT THINGS 4HESE INSTRUCTIONS ARE FOR A GROUP BUT YOU CAN DO THEM ALONE TOO 3TART BY INTRODUCING YOURSELVES TO ONE ANOTHER EVEN IF YOU ALREADY KNOW EACH OTHER 4RY TO SHARE SOMETHING THAT YOU DON T THINK THE OTHERS WILL ALREADY KNOW ABOUT YOU 'ET A BETTER SENSE OF EACH OTHER S BACKGROUNDS 3IT AND ,ISTEN TO 3OUNDS IN 3PACE 3IT IN SILENCE FOR A FEW MINUTES AND MAKE SOME NOTES ABOUT WHAT YOU HEAR

7HEN WE ALL DID THIS WE ALL HEARD A NEIGHBORING CONVERSATION BUT NONE OF US PAID ANY ATTENTION

$ISCUSS THE SOUNDS YOU HEAR IN THE SPACE YOU ARE IN 7HAT DO YOU HEAR 7HAT DO OTHERS HEAR THAT YOU DON T )S THERE SOMETHING THAT YOU ONLY NOTICED TO CATEGORIZE IT

TO THE WORDS 7HY "ECAUSE WE THOUGHT WE WERE BEING POLITE "UT BECAUSE OF THAT WE WEREN T REALLY EXAMINING

4HIS ACTIVITY IS A WAY TO WARM UP THE GROUP AND ENSURE THAT EVERYONE THERE IS ENGAGED IN BEING THERE )NDIVIDUAL PARTICIPATION FORCES EVERYONE TO ENGAGE IN HER OR HIS ENVIRONMENT

THE SPACE

2EMEMBER A 3IGNIl CANT 2OOM AND %VENT IN THAT 2OOM FROM #HILDHOOD %ACH PERSON SHOULD MAKE NOTES ABOUT A ROOM AND EVENT THAT OCCURRED IN THAT ROOM AT SOME POINT IN THEIR MEMORY )T S BEST IF IT IS A ROOM AND MEMORY THAT THE OTHER PARTICIPANTS HAVEN T EXPERIENCED THEMSELVES /NE GOOD CHOICE IS AN EVENT FROM YOUR CHILDHOOD 0AIR UP AND TELL YOUR PARTNER ABOUT THE ROOM AND THE EVENT THAT OCCURRED THERE 4HEN CHANGE PARTNERS AND TELL THE NEW PARTNER ABOUT YOUR OLD PARTNER S EVENT .OW TAKE THE STORY YOU WERE JUST TOLD AND SPEND A FEW MINUTES l LLING THE SIGNIl CANT DETAILS OF THE SPACE 9OU WILL HAVE TO IMAGINE ANYTHING YOU WEREN T TOLD $ON T BE SHY ABOUT MAKING UP DETAILS .OW l ND THE ORIGINAL STORYTELLER AND TELL THEM ABOUT THEIR SPACE 0AY ATTENTION TO WHAT DETAILS YOU IMAGINED CORRECTLY AND WHICH ONES WERE WILDLY DIFFERENT 9OU WILL PROBABLY BE SURPRISED BY THE SIMILARITIES YOU l ND -OST PEOPLE MAKE UP SOME DETAILS THAT ARE EXACTLY RIGHT 7HAT YOU ARE SEEING IS THE WAY IN WHICH WE ALL SCRIPT THE SIGNIl CANCE OF SPACE USING THE SAME CULTURAL IDEAS 7HEN WE DID THIS ACTIVITY WE NOTICED THAT OUR GROUP WAS QUITE PROl CIENT IN INCLUDING DETAILS OF THE SPACE ITSELF 7E ALL CHOSE TO PARTICIPATE IN A DESIGN PROGRAM WHICH MAY EXPLAIN THIS UNUSUAL SIMILARITY

$ESIGN 9OUR )DEAL ,EARNING 3PACE .OW HAVE EACH INDIVIDUAL MAKE NOTES LISTING POSITIVES AND NEGATIVES OF A PARTICULARLY FAVORABLE ENVIRONMENT FROM THEIR PAST )T HELPS TO PICK A PARTICULAR KIND OF SPACE A CLASSROOM IS ONE GREAT EXAMPLE 4HEN SPLIT INTO GROUPS OF THREE OR FOUR PEOPLE %ACH SMALLER GROUP WILL HAVE TEN MINUTES TO DESIGN THE PERFECT SPACE 3TART BY SHARING YOUR LIST OF POSITIVES AND NEGATIVES &IGURE OUT WHAT IS MOST IMPORTANT TO EACH OF YOU (OW DO YOU TURN THE NEGATIVES IN TO POSITIVES 4HEN WORK THE BEST IDEAS INTO ONE COMMON DESIGN %VEN IF YOU THINK YOU CAN T DRAW MAKE A DIAGRAM OF HOW THE SPACE MIGHT BE DIFFERENT

/UR PERSONAL HIGHLIGHTS OF A GREAT CLASSROOM INCLUDED OPTIONS FOR SEATING SOME NOISE BUT NOT TOO MUCH ACCESS TO BEVERAGES LESS STERILE THAN THE AVERAGE

%ACH GROUP THEN PRESENTS THEIR MUTUALLY AGREED UPON PLAN TO THE GROUP AS A WHOLE (OW WELL DID YOU COOPERATE $ID YOU APPROACH THE LISTS THE SAME WAY (OW DID YOU TURN THE IDEAS INTO A DIAGRAM

CLASSROOM

4HIS ACTIVITY HELPED ATTEND TO THE PLANNING OF A SPACE

IT CAN OBVIOUSLY BE VERY CHALLENGING $O YOU NOW APPRECIATE THE SPACES YOU GET TO WORK WITH BETTER OR DOES THIS MAKE YOU WANT TO CHANGE THEM MORE

!ESTHETIC %DUCATION $EAR !RCHEWORKERS

7HEN ) JOINED THE WORK GROUP AT !RCHEWORKS FOR A SESSION IN /CTOBER WE SPENT THE EVENING EXPLORING THE INTERSECTION OF DESIGN AND EDUCATION 4HE PROCESS WE FOLLOWED WAS BASED IN WHAT A NUMBER OF PEOPLE HAVE COME TO CALL AESTHETIC EDUCATION )T IS AN APPROACH TO LEARNING TO LEARN BASED IN THE ARTS AND HOW ARTISTS LEARN

EXPLORE PLAY REVISE SEARCH STUDY AND REm ECT )T IS PREMISED ON A NUMBER OF AXIOMS FOR EXAMPLE THAT LEARNING IS COLLECTIVE ACTIVE AND PROBLEM BASED )N THAT SHORT /CTOBER SESSION WE USED OUR OWN MEMORIES OF PERSONAL EXPERIENCES TO EXPLORE THE WAYS THAT PHYSICAL SPACE CAN SHAPE OUR SENSE OF EVENT AND HISTORY 4HEN WE BEGAN TO EXPLORE CONCRETE WAYS THAT SPACE AND THE DESIGN OF SPACE MIGHT CREATE A LEARNING ENVIRONMENT FOR THE GROUP 4HE THREE SUB GROUPS FOUND ENTIRELY DIFFERENT WAYS TO DEMONSTRATE WHAT THAT ENVIRONMENT MIGHT LOOK LIKE "UT ALL THREE GROUPS BROUGHT EXPERIENCE AND IMAGINATION TOGETHER TO DESIGN A COLLECTIVE LEARNING ENVIRONMENT 4HE PRE SCHOOL TEACHERS OF 2EGGIO %MILIA WHO HAVE ATTAINED SUCH REMARKABLE RESULTS WITH THEIR YOUNG CHILDREN THAT EDUCATORS FROM AROUND THE WORLD HAVE COME TO OBSERVE AND LEARN FROM THEM 4HEY OFTEN SAY OF THEIR APPROACH hWE GIVE THE CHILDREN MATERIALS AND SEE WHAT THEY WILL DO v 4HEY UNDERSTAND THEIR WORK AS RESEARCH UNDERSTANDING

AND DOCUMENTING THE LEARNING THAT HAPPENS WHEN CHILDREN ACTIVELY EXPLORE MATERIALS AND MAKE MEANING FROM THEIR EXPERIENCES )T IS NO SURPRISE THAT THESE TEACHERS COUNT THEMSELVES AS WELL AS THE CHILDREN AS PART OF A LEARNING GROUP ,IKE THOSE TEACHERS YOU HAVE EXPLORED MATERIALS

ASKED QUESTIONS ENGAGED IN ACTIVE LEARNING

SOLVED PROBLEMS AND REm ECTED ON THE RESULTS AND PROCESS LEARNED FROM EACH OTHER AND FROM THEIR COLLABORATING TEACHERS 9OU HAVE IN SHORT LIVED A YEAR OF AESTHETIC EDUCATION 4HE PHILOSOPHER -AXINE 'REENE WHOSE WRITING HAS PROVIDED INSIGHTS INTO WHAT AESTHETIC EDUCATION IS HAS PUT IT THIS WAY 7E ARE INTERESTED IN EDUCATION HERE NOT IN SCHOOLING 7E ARE INTERESTED IN OPENINGS IN UNEXPLORED POSSIBILITIES NOT IN THE PREDICTABLE OR THE QUANTIl ABLE NOT IN WHAT IS THOUGHT OF AS SOCIAL CONTROL &OR US EDUCATION SIGNIl ES AN INITIATION INTO NEW WAYS OF SEEING HEARING FEELING

MOVING )T SIGNIl ES THE NURTURE OF A SPECIAL KIND OF REm ECTIVENESS AND EXPRESSIVENESS A REACHING OUT FOR MEANINGS A LEARNING TO LEARN v.OTES ON !ESTHETIC %DUCATIONv IN 6ARIATIONS ON A "LUE 'UITAR 4EACHERS #OLLEGE 0RESS

7HAT YOU TAKE AWAY FROM THIS YEAR IS MORE THAN A SET OF TOOLS OR OBJECTS AND MORE THAN THE HOURS SPENT TOGETHER STRUGGLING WITH QUESTIONS IDEAS

AND POSSIBILITIES 9OU HAVE NURTURED INDIVIDUALLY AND COLLECTIVELY A WAY OF LEARNING TO LEARN "ARBARA !NDREWS !PRIL

!NALYTIC $ESIGN 4HE "AUHAUS 4HE "AUHAUS WAS FOUNDED BY 7ALTER 'ROPIUS AND ACTIVE UNTIL WHEN IT WAS CLOSED BY .AZIS AUTHORITIES 4HE "AUHAUS WAS A 'ERMAN SCHOOL OF ART

ARCHITECTURE AND DESIGN CREATED AS A RESPONSE TO THE ART SCHOOLS IN EXISTENCE AT THAT TIME 2ATHER THAN FOCUSING ON THE ACADEMIC ASPECTS OF THE ARTS THE CURRICULUM OF THE "AUHAUS EMPHASIZED THE IMPORTANCE OF APPRENTICESHIP )N FOUNDING THE "AUHAUS 'ROPIUS ULTIMATE GOAL WAS TO CLOSE THE GROWING GAP BETWEEN THE @l NE AND @APPLIED ARTS (IS PRIMARY INm UENCES BEING THE WORKS OF 7ILLIAM -ORRIS AND *OHN 2USKIN WHO PROMOTED THE IMPORTANCE OF HAND CRAFTED GOODS

PROMPTING A ROMANTICISM OF THE MIDDLE AGES AND THE CRAFTSMAN APPRENTICE RELATIONSHIP THAT WENT INTO THE PRODUCTION OF GOODS 4HE MANIFESTO OF THE "AUHAUS IS AS FOLLOWSx 4HE ULTIMATE AIM OF ALL ARTISTIC ACTIVITY IS BUILDING x !RCHITECTS SCULPTORS PAINTERS WE MUST ALL GET BACK TO CRAFT x 4HE ARTIST IS A HEIGHTENED MANIFESTATION OF THE CRAFTSMAN x ,ET US FORM x A NEW GUILD OF CRAFTSMEN WITHOUT THE CLASS DIVISIONS THAT SET OUT TO RAISE AN ARROGANT BARRIER BETWEEN CRAFTSMEN AND ARTISTS x ,ET US TOGETHER CREATE THE NEW BUILDING OF THE FUTURE WHICH WILL BE ALL IN ONE ARCHITECTURE AND SCULPTURE AND PAINTING 'ROVE $ICTIONARY OF ART SEC 7EIMAR PERIOD !LTHOUGH THE HISTORY OF THE "AUHAUS HAD A RELATIVELY SHORT EXISTENCE ITS IMPACT ON THE VISUAL AND BUILT ENVIRONMENT HAS GREATLY IMPACTED AND HAS FOREVER CHANGED THE WORLD OF ART AND ARCHITECTURE 4HE

TEACHING MODEL OF THE "AUHAUS WHICH BROKE DOWN PREVIOUS INSTITUTIONAL BARRIER S REPLACED THEM WITH A RESPONSE TO A NEED FOR INDIVIDUALITY AND ARTISTIC FREEDOM DURING A PERIOD OF INSTITUTIONAL CENSORSHIP AND HOSTILITY -AKING THEIR WAY TO #HICAGO PRODUCTS OF THE "AUHAUS INCLUDE NONE OTHER THAN ,UDWIG -IES VAN DER 2OHE AND "ERTRAM 'OLDBERG MOST RECOGNIZED FOR THEIR CONTRIBUTIONS TO THE DEVELOPMENT AND PRODUCTION OF MODERNIST ARCHITECTURE THAT IS STILL HOLDING STRONG AND INm UENCING FOLLOWING GENERATIONS OF ARCHITECTS

&IELD .OTES $ESIGN 3IGNIl CANCE AND !CTION )F A PERSON BELIEVES SOMETHING IS TRUE THEY WILL ACT AS IF IT IS TRUE AND MAY CAUSE IT TO BECOME TRUE 7 ) 4HOMAS SAID h)F MEN DEl NE SITUATIONS AS REAL THEY ARE REAL IN THEIR CONSEQUENCESv $El NITIONS ARE POWERFUL FORCES BECAUSE WE ACT ON OUR INTERPRETATION WHAT MEANING IS PERCEIVED NOT ON OBJECTIVE FACTS (OW CAN ) ADD TO THE BODY OF KNOWLEDGE WITHOUT ADDING TO THE DICTATES THE PROCLAMATIONS THE DESIRE TO BE THE ONE THAT hKNOWSv 4HE MOST BASIC MESSAGE THAT ) AM INTERESTED IN GETTING ACROSS IS THAT THERE IS SOMETHING SOME VARIABLE THAT IS CHRONICALLY OVERLOOKED IN HOW WE EDUCATE CHILDREN 4HERE IS THE OBVIOUS BRAIN THE THING THAT CAN ABSORB CAN RETAIN CAN TEST TEST AND RE TEST BUT WHAT ABOUT THE hMINDv ) WANT TO DEl NE IT SEPARATELY FROM THE BRAIN THE BRAIN FOR SURVIVAL THE MIND FOR ENRICHMENT )T IS NECESSARY TO LEARN FACTS AND l GURES TO BE ABLE TO SEE THE WAY THINGS WORK BUT HOW DO YOU LEARN HOW YOU WORK IN THE BIGGER PICTURE 9OU NEED TO KNOW THE WORLD TO KNOW YOURSELF YOU NEED TO KNOW YOURSELF TO KNOW THE WORLD ) FEEL THAT THERE IS AN ATTEMPT BEING MADE TO TEACH CHILDREN THE

WORLD ) HAVE SEEN IT DURING MY SITE VISITS 7HAT ) WANT TO ASK CHILDREN IS DO YOU KNOW YOURSELF )S THERE SOMETHING THAT IS RELATABLE TO YOU YOUR ENVIRONMENT AND HOW YOU WORK WITHIN IT ) WOULD HAVE GIVEN ANYTHING AS A SCHOOL KID TO HAVE A BOX TO RIDE IN ON THE BUS .OT BECAUSE OF FEAR ) SIMPLY WANTED SOMETHING DIFFERENT THAN WHAT ) WAS GIVEN )F ) HAD HAD THAT STEEL BOX ) ENVISIONED ) DOUBT IT WOULD HAVE IMPROVED MY GRADES RELATIONSHIP TO OTHERS OR OTHER OBVIOUS QUANTIl ABLE IMPROVEMENTS BUT IT SAYS SOMETHING ABOUT ME IT TALKS OF MY MIND !FTER EVERY STUDIO CLASS WITH MY GROUP ) REALIZE THAT WE VE DISCUSSED RE DISCUSSED AND RE SAID WHAT WE WILL DO ) AM SCARED OF DOING WHAT HAS ALREADY BEEN DONE ) AM WARY OF DOING ANYTHING THAT WILL ADD TO THE EXCESS ACCUMULATION OF EDUCATIONAL SURPLUS THAT ALREADY IS ) AM HOWEVER CONl DENT THAT WHAT ) FEEL THE EMOTIONS GOVERNING MY DESIRE TO SUCCEED IN THIS DESIGN PROBLEM ARE REAL AND CURRENT HAVE BEEN AND WILL BE ISSUES IN TOMORROW S EDUCATIONAL ENVIRONMENT !S AN ADULT TEACHING CHILDREN ) KNOW ) AM MISSING SOMETHING THE MOST ) CAN HOPE FOR IS THAT WHATEVER DROVE ME TO END UP AT ART SCHOOL AND !RCHEWORKS IS PART OF WHAT DROVE ME TO WANT TO RIDE TO SCHOOL IN A BOX 4HAT SOME OF THE MIND ) HAD THEN HAS STAYED WITH ME TODAY

4HEORY OF 6ALUE 2ESEARCH IS A PROCESS OF DISCOVERY 4HE PROCESS IS CAN BE SYSTEMATIC OR IDIOSYNCRATIC CAN TAKE INTO ACCOUNT KNOWN FACTS BEHAVIORS AND OBSERVATIONS OR CAN IGNORE THEM )T CAN START WITH A HYPOTHESIS WHICH IS TESTED

OR CAN SEARCH FOR COMPREHENSIVE UNDERSTANDING OF A l ELD OF REASONING 4HIS IS WHY A THEORY OF VALUE IS IMPORTANT TO RESEARCH n IT EXPLAINS HOW OTHERS MAY UNDERSTAND THE RESEARCH %VERY RESEARCHER SEES A SITUATION AND RELATES IT TO WHAT HE OR SHE KNOWS A PARTICULAR SET OF EXPERIENCES )T IS DIFl CULT TO GET CLOSE ENOUGH TO A PROBLEM TO UNDERSTAND IT )T IS EVEN MORE DIFl CULT TO MAINTAIN ENOUGH EMOTIONAL DISTANCE FROM A PROBLEM HAVING UNDERSTOOD IT TO EXPLAIN IT CLEARLY 6ALUE JUDGMENTS SWEEP OUR EMOTIONS AWAY LEADING US TO CONFUSE A COMPLEX EXISTING REALITY WITH SOME IMAGINED SOLUTION $AVID (UME POINTS OUT THE ABSURDITY OF SUCH AN ACTION WITH HIS FAMOUS FACT VALUE DISTINCTION n THE ARGUMENT THAT FACTS AND VALUES ARE DIFFERENT ORDERS OF REALITY AND THAT CONFUSING ONE FOR ANOTHER IS ALWAYS AN ERROR 7HEN WE ACT AS IF OBSERVATION AND EXPERIMENTATION CAN PROVE VALUES WE MAKE A MISTAKE 3IMILARLY WHEN WE CLAIM THAT SOME FACT IMPLIES A COURSE OF ACTION WE UNDERMINE OUR CAREFUL RESEARCH 4HE WORLD IS MADE OF BOTH FACTS AND VALUES AND AS CAREFUL RESEARCHERS WE NEED TO PAY ATTENTION TO BOTH &OR WHILE THEY MAY NOT COEXIST LOGICALLY THEY DO COEXIST AS HISTORICAL DIALOGUES !ND IN FACT BECAUSE OF THOSE HISTORIES SOME FACTS ARE NOT ONLY CONFUSED

FOR VALUES WE ALL BEGIN TO ACT AS IF THEY ARE VALUES n MAKING THEM AS GOOD AS VALUES FOR ALL INTENTS AND PURPOSES !ND JUST AS FREQUENTLY VALUES TEND TO TAKE ON THE PATINA OF FACT AS WELL

*>ÌÌiÀ Ã

&ACING A GROWING PILE OF CRAP AND MOUNTING CONCERNS GATHERED FROM l ELD RESEARCH WITH TEACHERS IN THE CLASSROOM IT BEGINS TO BE OVERWHELMING TRYING TO THINK OF A LEARNING TOOL THAT COULD BE BENEl CIAL ENOUGH NOT TO BE ADDED TO THAT PILE OF CRAP AND INTERESTING AND UNIQUE ENOUGH TO ACTUALLY SERVE A PURPOSE %XECUTED 0ATTERNS 7E EXECUTED DESIGNS THAT CORRESPONDED WITH THEORIES ABOUT HOW CHILDREN THRIVE IN A CLASSROOM /UR GOAL WAS TO CREATE TOOLS THAT ENHANCED THEIR ENVIRONMENT (ERE ARE THOSE PATTERNS AND THE REASONS WHY WE MADE THEM

(OW TO 4OUCH 3EE -ANY OF US USE SOME SORT OF PLANNER AS ADULTS TO KEEP US ORGANIZED !S CHILDREN WE MAY HAVE HAD A JUNIOR PLANNER &OR YOUNGER CHILDREN A TACTILE BUSY BOOK IS ONE LINK TO EVENTUALLY SECURING THESE SKILLS FOR OURSELVES 4HE 4OUCH 3EE BOOK WOULD BE MADE OF FELT 0AGES WOULD ALTERNATE BETWEEN OBJECTS TO FEEL SUCH AS A ROW OF TUBES ENCLOSED WITHIN A FELT POUCH AND DESIGNS TO SEE

PLAYING UP COLOR SHAPE OR VISUAL REPRESENTATIONS OF WHAT IS INSIDE OF THE FELT POUCH 4HE TRICK IS THAT ANYTHING CAN GO IN THE PAGES AS LONG AS IT WON T BREAK 3O WE MADE A PROTOTYPE 4HEN THE 4OUCH 3EE BOOK BECAME A GIANT BOOK 4HEN A WAY FOR CHILDREN TO NETWORK TOGETHER TO LEARN FROM EACH OTHER

TO PLAY TOGETHER &INALLY IT BECAME A -AT

!TTACHMENT !T !RCHEWORKS YOU CAN T HELP BUT HAVE HEARD OF (OWARD 'ARDNER WHO FOUNDED THE 4HEORY OF -ULTIPLE )NTELLIGENCES WHICH DIVIDES KINDS OF LEARNING INTO SEVEN THEN LATER THEN CATEGORIES !ND JUSTIl ES LEARNING TOOLS WITH TOO MUCH GOING ON IN THEM 4HAT S ALL WELL AND GOOD FOR A FOR PROl T EDUCATION SYSTEM "UT )N A PUBLIC EDUCATION SYSTEM THAT IS ALREADY OVERBURDENED WITH TOO MANY STUDENTS BREAKING UP EACH LEARNING ACTIVITY INTO EIGHT GROUPS SIMPLY ISN T COST EFFECTIVE 7E CAN T AFFORD CLASSES WITH ONLY FOUR OR l VE STUDENTS IN THEM 3O HOW DO WE MAKE SENSE OF STUDENT S MINDS WITHOUT DIVIDING THEM UP INTO ALL THESE LITTLE GROUPS 3INCE THEN THE STUDY OF THE MIND HAS TAKEN THE hCOGNITIVE TURNv LOOKING AT HOW THE MIND WORKS BIOCHEMICALLY -ORE SENSITIVE TESTS GIVE US A MUCH DEEPER UNDERSTANDING OF THE ACTUAL MECHANICS OF THIS AMAZING ORGAN !CCORDING TO 4OM 3MITH ALL OF 'ARDNER S CATEGORIES EFFECTIVELY WORK ON A LOWER LEVEL MECHANISM n ATTACHMENT -OOD DEPENDS ON TWO CLASSES OF NEUROCHEMISTRY /PIOIDS AND %PINEPHRINES /PIOIDS MAKE US FEEL CALM AND SAFE SO WE CAN WITHDRAWAL FROM THE WORLD %PINEPHRINES MAKE US ANXIOUS AND EDGY SO WE CAN ENGAGE THE WORLD 4HE TWO CLASSES INTERACT n MAKING US m UCTUATE BETWEEN WITHDRAWAL AND ATTACHMENT

.ORMALLY WE TALK ABOUT PAYING ATTENTION TO MAKE EDUCATION WORK n BUT ACTUALLY THE ABILITY TO WITHDRAWAL IS JUST AS IMPORTANT )F WE CAN T WITHDRAWAL WHEN WE NEED TO WE CAN T EVER REGAIN ATTENTION 4HE 4OUCH 3EE BOOK CAN BE A USEFUL CLASSROOM TOOL FOR ALLOWING THE ENGAGE WITHDRAWAL CYCLE TO HAPPEN

/BJECT ATTACHMENT 4HIS PROJECT ISN T MERELY ABOUT EDUCATION AND BRAIN FUNCTION n IT S ABOUT LEARNING OBJECTS !ND OBJECT ATTACHMENT PLAYS AN IMPORTANT ROLE IN THE DEVELOPMENT PROCESS &IRST A MOTHER USES AN OBJECT A TEDDY BEAR OR BLANKET AS A SUBSTITUTE FOR HER PRESENCE 4HE CHILD BEGINS SUBSCRIBING PERSONALITY QUALITIES TO THE OBJECT LIKE HAVING THE SAME RELIGION AS THE FAMILY 4HE QUALITIES OF THE OBJECT MAKE THE PERSONALITY COHERENT AS AN IDEA 7HICH IN TURN BEGINS TO MAKE THE IDEA INTELLIGIBLE 4HEN AS THE GROWING PERSON l NDS OTHERS ASCRIBE TO THOSE SAME IDEAS THOSE OTHER PEOPLE BECOME ATTACHMENT SOURCES 3O IT S OBJECTS THAT GET IT ALL STARTED

(OW TO #ARD 'AME 7E STARTED TO THINK ABOUT WHAT WAS THE MOST COMMON COMPLAINT SUGGESTION OR IDEA VOICED BY THE TEACHERS WE HAD MET WITH TO DATE 4HROUGH ALL THE DIFFERENCES

THE GRADE LEVELS TAUGHT THE YEARS SPENT TEACHING THE NEIGHBORHOODS TAUGHT INx THROUGH ALL OF THIS TEACHER CONTINUALLY TOLD US THE BIGGEST PROBLEM IN THEIR CLASSROOM WAS GETTING THE CHILDREN TO SCHOOL AND KEEPING THEM IN SCHOOL )F THE KIDS DON T COME TO SCHOOL THEN OUR TEACHERS DON T HAVE ANY CHILDREN TO TEACH !ND ONCE THEY GET IN TROUBLE

THE CHILDREN DON T COME BACK TO SCHOOL /UR CHILDREN ARE NOT STAYING IN SCHOOL

THEY AREN T COMING TO SCHOOL 4HEY AREN T BEING GIVEN THE CHANCE TO LEARN OUTSIDE OF SCHOOL 7HAT S THE POINT OF TOOLS FOR SCHOOLS IF WE CAN T GET THE CHILDREN TO SCHOOL 4HE l RST THING THAT CAME TO ME AFTER THAT REALIZATION WAS SEEING A NEWS STORY OF CHARTER SCHOOL WHERE THE PRINCIPAL PAID THE KIDS TO COME TO SCHOOL (EW ACTUALLY PAID THE CHILDREN OUT OF HIS POCKET TO COME TO SCHOOL AND KEEP COMING TO SCHOOL ) QUICKLY THOUGHT OF OUR BUDGET HERE AT !RCHEWORKSx ) THOUGHT MY GROUP MATES MAY NOT GO FOR THIS IDEA 0LUS IT S CONTROVERSIALxARE YOU SIMPLY

BRIBING THEM TO COME TO CLASS 0LUS IT IS A VERY SHORT TERM SOLUTION FOR US /UR BUDGET RUNS OUT

WE hGRADUATEv MOVE ONE 7HO WILL FUND EVERY CHILD ) THE #HICAGO 0UBLIC 3CHOOL SYSTEM INSERT FACT OF OF STUDENTS ENROLLED AT #03 3O LOOK AT WHAT WE HAVE STUDENTS WHO AREN T COMING TO SCHOOL WHO DO NOT REALIZE THAT IT IS THEIR JOB TO COME TO SCHOOL THEIR OBLIGATION TO EDUCATE THEMSELVES ) AM NOT TRYING TO SAY HERE THAT TEACHERS AREN T EDUCATING TRYING TO SAY THAT STUDENTS AND TEACHER NEED TO MEET HALFWAYx ) HAVE A JOB 7HY DO ) CONTINUALLY GO TO MY JOB ) AM INTERESTED TO SOME DEGREE ) DO NEED TO PAY BILLS AND ) FEEL A CERTAIN RESPONSIBILITY TO PROVIDE FOR MYSELF MAKE MY EFFORT IN THE LARGER WHOLE 7HAT KEEPS ME ON TIME TO WORK 7HAT KEEPS ME AWARE THAT ) NEED TO BE THERE EVERYDAY ) HAVE TO CLOCK IN ) HAVE TO MAKE SURE MY PRESENCE IS KNOWN THAT MY BOSS KNOWS ) WAS HERE TODAY

KNOWS TO PAY ME FOR MY TIME SPENT WORKING THERE ) DON T WANT TO RELATE BACK TO PAYING KIDS TO COME TO SCHOOL ) PUNCH IN AND PUNCH OUT SIGN IN AND SIGN OUT ) WANT TO MAKE SURE EVERYONE AT WORK KNOWS ) WAS ACCOUNTABLE FOR MYSELF THAT ) WAS AT WORK THAT DAY (OW DO WE MAKE SURE CHILDREN ARE AT WORK IN THE CLASSROOM EVERYDAY 7E TAKE ATTENDANCExBUT IT IS MERELY NOTE TAKING FOR THE TEACHER DATA TO BE COLLECTED FOR THE SCHOOL DATA TO BE SENT TO APPLY FOR MONEY AND HONORS BECAUSE OF THE SCHOOL S ATTENDANCE 7HAT IF IT BECAME MORE ENGAGING 7HAT IF WE COULD GET KIDS EXCITED ABOUT COMING TO

SCHOOL ANTICIPATING THE COMING DAY THE ENSUING WEEK )NSTEAD OF PAYING THEM WITH DOLLAR BILLS

LET S PAY THEM WITH CARDS /UR GROUP HAS AN EXTREME EXCESS OF BLANK PLAYING CARDS ONE OF THE MANY UNUSUAL DONATED MATERIALS WE ACCUMULATED ) LIKED THE PLAYING CARDS THEY HAD A REALLY NICE WEIGHT TO THEM A NICE SOUND TOO 2EMINDS ME OF WHEN WE USED TO PUT THEM IN OUR BICYCLE SPOKES AND m IP m ICK m AP WE D GOx 4HE PLAYING CARDS WERE THE EXACT SAME SIZE OF THE TIME CARDS ) USED TO CLOCK IN WITH AT WORK THAT CARD HAD MY NAME ON IT IT WAS MY RESPONSIBILITY 7HAT IF WE CREATED A TIME CARDS SYSTEM FOR SCHOOL KIDS HOW COULD KIDS GET EXCITED ABOUT CLOCKING IN AND CLOCKING OUT #HILDREN NEED TO KNOW THAT THEY ARE SO INCREDIBLY IMPORTANT TO THE BIGGER PICTURE THAT THEY ARE NECESSARY TO COMPLETE THE PICTURE ,ET S MAKE THEM THE PICTURE )F EACH CHILD RECEIVES A PART OF A PICTURE ON A PLAYING CARD A SLICE OF AN IMAGE THEY COULD APPLY THEIR CARD TO THE SYSTEM TO COMPLETE THE BIGGER PICTURE ! m EXIBLE SYSTEM THAT COULD BE USED MONTHLY WEEKLY DAILY !

VISUAL ATTENDANCE SHEET %VERY STUDENT NEEDS TO BE THERE TO l NISH COMPLETE THE IMAGE !N ANTICIPATION OF WANTING TO SEE THE l NAL RESULT WHAT WILL COME NEXT WILL GIVE A CHILD A REASON TO COME TO SCHOOL 4HE MOST COMMON PROBLEM FACED BY EVERY SINGLE TEACHER

!LPHABETS ARE NOT THE FUNDAMENTAL ELEMENTS OF LANGUAGE -ANY LANGUAGES DID AND STILL DO EXIST WITHOUT ALPHABETS -OST FORMS OF WRITING STARTED BEFORE AN ALPHABET WAS FORMALIZED "UT ALPHABETS HAVE GROWN TO BECOME A UNIVERSALLY RECOGNIZED BUILDING BLOCK OF WORDS ACROSS CULTURES )F ONLY THERE WAS AN ALPHABET OF OBJECTS AND LEARNING !LLEYS ARE #HICAGO .O OTHER MAJOR CITY HAS QUITE THE SAME RELATIONSHIP WITH IT S ALLEYS 4HE @%, WAS ORIGINALLY THE @ALLEY TRAIN ,ET S THINK ABOUT THE BEAUTY OF WHO WE ARE WHERE WE ARE AND WHAT WE ARE 4HERE IS A "EAUTY IN UNDERSTANDING THAT BACK TO BACK WE ARE DEPENDENT ON EACH OTHER ) RELY ON YOU AND YOU NEED ME 7E ARE RESPONSIBLE FOR EACH OTHER !ND OUR RESPONSIBILITY IS BEAUTIFUL 3O IGNORING THE FAILURE OF SCHOOLS BECAUSE MY CHILDREN AREN T IN THEM IS NOT AN OPTION ) WILL WORK WITH THE GRADUATES OF A FAILING SCHOOL SOMEDAY OR HAVE TO TEACH THEM OR THEY WILL BE TEACHING MY CHILDREN 9OU HAVE TO CREATE IT TOGETHER 7E ALL HAVE TO CREATE IT TOGETHER 3O DO THE STUDENTS WE WANT TO HELP TEACH 4HEIR IMPORTANCE WITHIN THE CLASSROOM THE COMMUNITY

THE CITY

(OW TO .ETWORKS 4OM 3MITH EXPLAINS THAT AS SMALL CHILDREN WE DEVELOP OUR OPIOID AND EPINEPHRINE CYCLES BY INTERACTING WITH OUR PARENTS THE m UCTUATION OF THEIR CYCLE ACTUALLY EFFECTS OURS AND VICE VERSA )F YOU VE EVER WATCHED SMALL CHILDREN WITH THEIR PARENTS YOU CAN SEE THEM DEVELOP THIS CYCLE n RUNNING AWAY FROM MOM TO EXPRESS WITHDRAWAL RUNNING BACK AND CLINGING TO HER LEG TO DEMAND ATTACHMENT ,ATER AS ADULTS WE EXPRESS OUR STATUS BY OUR POSTURE %ACH STATE CHANGE WILL EVENTUALLY AFFECT THE STATE OF ALL OF THE PEOPLE IN OUR GROUPS 3O WE WILL ALL GET BORED TOGETHERx !ND WE ALL GET INTERESTED TOGETHER /VER TIME A GROUP WORKING TOGETHER BONDS INTO A COHERENT UNIT n ATTACHING AND WITHDRAWING TOGETHER

SYNCHRONIZED 4HIS IS WHY WE DO GROUP WORK AND WHY WE SPEND SO MUCH TIME TRYING TO BUILD NETWORKS 4HE WHOLE PROCESS COMES DOWN TO ATTACHMENT 7E ALSO KNOW THAT WE ARE CAPABLE OVER TIME OF FORMING VERY LARGE NETWORKS 3O IT IS POSSIBLE TO FORM GROUP ATTACHMENT AMONG A GROUP OF THIRTY OR SO STUDENTS AND TO ACTIVATE LEARNING FOR ALL OF THE STUDENTS THROUGH NETWORK ATTACHMENT

7E MAY NOT HAVE CHILDREN YET BUT IT SEEMS MORE AND MORE LIKELY THAT THEY WILL SHOW UP SOON 0EOPLE WANT TO DO WHAT THEIR PEERS DO "UT IT S NOT JUST PEER PRESSUREx 4HE OCCULT SECRET IS THAT DESIGN REALLY IS GRAND AND UNIFYING AT l NAL ANALYSIS BUT THE UNIVERSE MAY NOT BE $ESIGN HAS TO BE TO WORK n WE ALL HAVE TO AGREE THAT THE SWOOSH MEANS .IKE AND .IKE MEANS PLAYING BASKETBALL LIKE -IKE WHILE MAKING SWEATSHOPS IN THE THIRD WORLD 4HE WORLD IS FULL OF CONTRADICTION HIDDEN MEANINGS

OPPOSITIONS TURF WARS RED TAPE FALSE CONSCIOUSNESS AND MISPLACED CONCRETENESS )T IS ONLY BECAUSE WE DESIGN THAT WE GET TO PRETEND THAT THEY ALL MAKE SENSE TOGETHER

(OW TO &RAMES )T CAN BE THIS SIMPLE n WHAT DO YOU DO WITH CARDBOARD 7E MAKE A FRAME 4HEN THAT THING ON THE WALL n THE CERTIl CATE TO RECOGNIZE A SPECIAL STUDENT A GREAT PROJECT OR EVEN JUST A PICTURE WORTH LOOKING AT n STANDS APART %IGHT AND A HALF BY ELEVEN BUT MADE FROM THE SMALLEST OF SCRAPS n PRACTICALLY FREE 7HY DO WE FRAME THINGS ! DIPLOMA OR CERTIl CATE ! WORK OF ART 3PECIAL PHOTOS OR MEMENTOES 4HESE ARE OBJECTS WE ARE USED TO SEEING INSIDE A FRAME 4HEY ARE UNIQUE REPRESENTING SPECIAL ACHIEVEMENTS EXTRA GOOD WORK OR FUN TIMES WITH OTHERS "UT WHAT IF WE PUT SOMETHING MORE ORDINARY INSIDE A FRAME $OES THAT MAKE IT SPECIAL !S DESIGNERS

WE ARE INTERESTED IN PUTTING FRAMES AROUND THINGS THAT MAY NOT ON THE SURFACE SEEM LIKE THEY HAVE SIGNIl CANCE BUT THAT ARE SPECIAL IN LESS OBVIOUS WAYS /UR BRAINS MAY ASSOCIATE FRAMES WITH SPECIAL OBJECTS

BECAUSE ON A PHYSICAL LEVEL FRAMES SET BOUNDARIES BETWEEN WHAT IS TO BE SEEN AND WHAT IS NOT 4HEY PROVIDE A FOCUS FOR OUR SENSES 4HEY ISOLATE ONE SPOT WITHIN OUR BROAD

RANGE OF PERCEPTION ! FRAME MAKES THINGS STAND OUT !NYTHING PUT INSIDE THOSE BRACKETS BECOMES SOMETHING TO GIVE PAUSE TO AND CONTEMPLATE 4HE IDEA FOR CARDBOARD FRAMES WAS INSPIRED BY VISITS TO #HICAGO CLASSROOMS 7E OBSERVED MANY TEACHERS USING COMPUTERS TO MAKE SIGNS ON LETTER SIZED PIECES OF PAPER 3OME TEACHERS MADE SIGNS OF INSPIRATIONAL QUOTES AND PUT THEM AROUND THE ROOM /THERS DISPLAYED CLASSROOM RULES THIS WAY /THERS COMMUNICATED STUDY GUIDES OR REINFORCED IDEAS BEING LEARNED IN THE CURRENT UNIT OR LESSON 4HE INFORMATION WAS VALUABLE BUT IN EVERY CASE THESE SIGNS WERE EITHER TACKED DIRECTLY ONTO THE WALL OR THEY WERE INSERTED INTO A PLASTIC SLEEVE PROTECTOR AND THEN HUNG 4HE RESULT WAS A LACK OF FOCUS 4HE SIGNS DID NOT STAND OUT AND SO THE TEACHER S MESSAGE AND INTENT TO COMMUNICATE WERE GETTING LOST AMONG THE REST OF THE CLASSROOM DECOR 4HE COMPUTER GIVES TEACHERS AN EASY m EXIBLE WAY TO CREATE SIGNS TO COMMUNICATE WITH STUDENTS SO THEY NOW NEED A WAY TO CARRY THAT COMMUNICATION EFFECTIVELY 4HE CARDBOARD FRAMES ARE A m EXIBLE ECONOMICAL DESIGN SOLUTION TO THIS OPPORTUNITY 3IMPLE IN STRUCTURE THEY CAN BE ASSEMBLED OUT OF SCRAP BOXES OF NEARLY ANY MAKE AND QUALITY 5NLIKE TRADITIONAL FRAMES THERE IS NO GLASS PLATE OR SLIDING MECHANISM BLOCKING ACCESS TO THE FRAME S CONTENTS *UST TAPE A LETTER SIZED SIGN TO THE CENTER OF THE FRAME REMOVE AND REPEAT AS OFTEN AS DESIRABLE 3IGNS CAN BE ACCUMULATED OR SWAPPED OUT ON A REGULAR BASIS

"Y USING THESE CARDBOARD FRAMES FOR THEIR SIGNS THE TEACHERS MESSAGES WILL HAVE FOCUSSED DEDICATED PLACES WITHIN THE CLASSROOM )T WILL BE NATURAL AND INTUITIVE TO NOTICE THE SIGNS READ THEM AND CONTEMPLATE THEM 4EACHERS PERFORM A GREAT SERVICE TO SOCIETY AND WHAT THEY HAVE TO SAY DESERVES TO BE HEARD 7E HOPE THAT THESE FRAMES PROVIDE ONE HUMBLE TOOL

)DEAS THAT $IDN T -AKE )T 3O FAR WE VE BEEN IMAGINING INSPIRATION IN ONE WAY n FROM THE BRAIN TO THE BOX "UT THE INVERSE COULD WORK JUST AS WELL #HILDREN ASSIGN ATTRIBUTES TO OBJECTS 4HEY LEARN TO CATEGORIZE THINGS ACCORDING TO COLOR

SHAPE TYPE OF MATERIAL (OWEVER IT OFTEN TAKES KIDS AND EVEN ADULTS SOME TIME TO LEARN THAT EVERYTHING HAS MANY ATTRIBUTES AND CAN l T INTO SEVERAL CATEGORIES 4HE CATEGORIES WE USE ARE DETERMINED BY THE PURPOSE ! LEARNING TOOL IS DIFFERENT FROM A LEARNING OBJECT IN THIS WAY 4HE FUNCTION OF hSTUFFv IS THAT MENTALLY OR MECHANICALLY IT CHANGES THE WAY YOU INTERACT WITH ANOTHER THING #REATIVITY DOES NOT COME FROM ONE GREAT IDEA BUT THE SUCCESSFUL DELETION OF THE BAD IDEAS AND THE ABILITY TO MOVE FORWARD $ECISIONS FOLLOW PLANNING AND ACTIONS FOLLOW DECISIONS AND ASSESSMENT IS MOST IMPORTANT 4OO MUCH INFORMATION OR LACK OF UNDERSTANDING OF TYPE OF INFORMATION CAN PARALYZE THE PROCESS 7E NEED TO LEARN TO STEP BACK ASK THE QUESTION n WHAT IS THIS n AND BE SURE THAT THE CONCEPT THAT IS BEING DEl NED CANNOT BE COLLAPSED INTO SOMETHING LESS COMPLEX ,ET S START OUT WITH SOMETHING COMPLEX THE PROBABILICUS A MIXTURE OF DICE AND SMALL CHALK BOARDS PUT TOGETHER )N THE END IT WOULD BE SIMPLER

EASIER AND EASIER TO TEACH USING DICE ON THE CHILDREN S DESK AND A CHALKBOARD IN FRONT OF THE CLASSROOM IN ORDER TO ENCOURAGE INTERACTION

)MAGINARY &RIENDS /UR GROUP COUNTED SEVERAL IMAGINARY FRIENDS AMONGST OUR CHILDHOOD PLAYMATES 4HERE WAS 3COTT &RED THE 2EINDEER AND 0EAKABOO -OUSY AMONG OTHERS 4HESE l GMENTS OF OUR IMAGINATIONS ALLOWED US TO COMMUNICATE AND OVERCOME SHYNESS )MAGINARY FRIEND KITS WOULD ALLOW STUDENTS TO COMMUNICATE IN CLASSROOMS ON A MORE COMFORTABLE LEVEL ALLOWING FOR MORE PRODUCTIVE NETWORKS IN THE CLASSROOM 7HEN CHILDREN PRETEND THEY ARE PROJECTING THEIR EMOTIONS ONTO ANOTHER LEARNING TO RELATE AND LATER IN PRETEND SITUATIONS WITH OTHERS LEARNING HOW TO DEAL WITH CONm ICT AND COLLABORATE 5RSULA ,E'UIN A CHILDREN S WRITER NOTED THAT h)F YOU CANNOT OR WILL NOT IMAGINE THE RESULTS OF YOUR ACTIONS THERE S NO WAY YOU CAN ACT MORALLY OR RESPONSIBLY ,ITTLE KIDS CAN T DO ITxTHEIR IMAGINATION HAS TO BE TRAINED INTO FORESIGHT AND EMPATHY v 4HE IDEA OF THE IMAGINARY FRIEND WHILE NEVER DEVELOPED WAS BASED UPON THIS IDEA ! LEARNING TOOL MUST BE DEVELOPED AROUND A CONCEPT OF INTERACTION 3O TO GO FURTHER FROM THE ORIGINAL SORTING TRAYS WE CREATED A TRAY THAT HELPS SHOW STUDENTS THE DIFFERENT WAYS WE CAN CATEGORIZE THINGS

%NTER THE hDUALv SORTING TRAY 3TUDENTS OFTEN HAVE A HARD TIME VISUALIZING ABSTRACT CONCEPTS LIKE PROBABILITY 4HE ROUND BALLS THAT WE HAD IN EXCESS SEEMED LIKE A GOOD TOOL TO MAKE AN ABACUS "UT AN ABACUS IS NOT THAT USEFUL IF YOU LOSS TRACK OF WHAT YOU ARE COUNTING 3O WE CREATED THE PROBABILICUS 4HE DICE IS KEPT TO ONE SIDE WHICH THE STUDENT CAN REMOVE AND ROLL AS NEEDED FOR AN ASSIGNMENT 4HEN THE STUDENT KEEPS TRACK OF HOW MANY ROLLS ON THE MINI CHALK BOARD ABOVE 4HE BOTTOM SEGMENT LETS THE STUDENT MOVE THE ABACUS TO RECORD HOW MANY TIMES A CERTAIN NUMBER WAS ROLLED /NE KEY TO LEARNING IS FEELING INSPIRED TO DO IT

BOTH BY YOUR OWN MOTIVATION WITHDRAW AND BY YOUR SURROUNDINGS ENGAGE 4HESE DISCARDED PLASTIC BRACELETS HAVE A LUMINOUS QUALITY THAT WOULD DISPLAY WELL AS A CLASSROOM CHANDELIER !ND THEY WOULD CREATE A QUIRKY ART OBJECT TO BE A POINT OF INSPIRATION AND THUS MOTIVATION TO THE STUDENTS

(OW TO ,ANGUAGE #HEMISTRY 4HE LANGUAGE CHEMISTRY SET WAS DEVELOPED AROUND THE IDEA OF PHYSICALLY SEPARATING DIFFERENT TYPES OF SPEECH LIKE DIFFERENT CHEMICAL SOLUTIONS ARE SEPARATED 4HE TUBES LOOKED LIKE CHEMISTRY SET AND LANGUAGE EXERCISES ARE COMMON IN CLASSROOMS 4HE STUDENTS COULD PUT LETTERS IN THE TUBES AND DUMP THE LETTERS IN AND OUT !DVERBS ADJECTIVES AND NOUNS COULD BE SEPARATED 4HIS SET WOULD HELP REINFORCE THE TYPE OF SPEECH OF EACH WORD PHYSICALLY AND VISUALLY +IDS MASTER THE ALPHABET AT AN EARLY AGE 4HEN IT S TIME TO PUT THESE LETTERS TOGETHER TO MAKE WORDS 3OME KIDS l ND THEMSELVES MORE INTERESTED IN SCIENCE THAN LANGUAGE 4HE ONES THAT ARE MORE INTERESTED IN SCIENCE CAN HELP THE ONES MORE INTERESTED IN LANGUAGE AND VICE VERSA 3HARING INTERESTS REINFORCES THE NETWORK "Y BRING THE TWO IDEAS TOGETHER INTO THE SAME SCHOOL SUPPLY WE CAN HELP THEM LEARN NOT ONLY LEARN FROM EACH OTHER BUT ALSO LEARN TO BE TOGETHER

(OW TO #AVES AND 3HADES ) WOULD HAVE GIVEN ANYTHING AS A SCHOOL KID TO HAVE A BOX TO RIDE IN ON THE BUS .OT BECAUSE OF FEAR ) SIMPLY WANTED SOMETHING DIFFERENT THAN WHAT ) WAS GIVEN )F ) HAD HAD THAT STEEL BOX ) ENVISIONED ) DOUBT IT WOULD HAVE IMPROVED BY GRADES RELATIONSHIP TO OTHERS OR OTHER OBVIOUS QUANTIl ABLE IMPROVEMENTS BUT IT SAYS SOMETHING ABOUT ME IT TALKS OF MY MINDx SO HOW DOES THIS GROW UP ! CAVE IN A CLASSROOM A CHANCE TO HAVE SOMETHING SAFE SOMETHING DIFFERENT SOMETHING THAT COULD SPEAK TO A STUDENT S MIND

THAT THE DESIRE OF A STUDENT TO WITHDRAW AND AT THE SAME TIME BE WITHIN THE LARGER GROUP YOU ARRIVE AT THE CLASSROOM CAVE 7E ALSO SAW THE IDEA OF THE CAVE BEING APPLIED IN SMALLER CLASSROOM INTERVENTIONS $URING ONE OF OUR SITE VISITS TO A HIGH SCHOOL THE TEACHER POINTED OUT THAT HE LIKED HIS CLASSROOM BECAUSE OF THE MANY WINDOWS 4HE ONLY PROBLEM WAS THAT THE STUDENTS ALWAYS WANTED THE SHADES DOWN ) WONDERED WHY AND ONCE ) WAS IN THE CLASSROOM ) REALIZED THAT HAVING THE WINDOWS OPEN CREATED A GLARE ON THE CHALKBOARDS THAT LINED ALL THE WALLS 4HIS HIGHLIGHTS THAT DISTRACTION MAKES WITHDRAWAL IMPOSSIBLE

7E PROPOSE A SHADING SYSTEM THAT WOULD NOT DULL AND BLOCK OUT THE NATURAL LIGHT BUT WOULD INSTEAD DIFFUSE LIGHT UP AND OVER THE CLASSROOM ! SHUTTER SYSTEM WOULD GROW UP AND OVER THE STUDENTS #REATING A WRAPPED ENVIRONMENT

,ETTER FROM %RIKA $ 4O REMEMBER MY OWN INTENT AND PURPOSE THIS SEMESTER ) LOOKED BACK OVER THE !RCHEWORKS DESCRIPTION WHICH READ hTEAMS ARE ENCOURAGED TO DEVELOP A PRODUCT SOLUTION v !S AN EDITOR BY TRADE AND A STUDENT OF LITERATURE AND LANGUAGE

) HAVE ALWAYS TENDED TOWARDS THE WRITTEN WORD AND LEARNED BEST BY PLAIN TEXT OFTEN INDIVIDUALLY ! CONCEPTUAL HURDLE FOR ME HAS BEEN l NDING A WORTHWHILE PHYSICAL OBJECT 4HE ONLY ANSWERABLE QUESTION ) COULD COME UP WITH IS 7HAT WOULD THIS OBJECT DO (OW CAN YOU EFFECT CHANGE IN AN EDUCATIONAL SYSTEM EMBEDDED IN DISPARITY $IETRICH $ÚRNER IN ! ,OGIC OF &AILURE OFFERED A METHOD FOR DEALING WITH SYSTEMATIC PROBLEMS SEE A PREVIOUSLY UNRECOGNIZED RELATIONSHIP BETWEEN TWO THINGS AND INTRODUCE SOMETHING NEW AT A POINT WHERE A LITTLE DOES A LOT ! GOOD STUDENT HAS A SENSE OF CONTROL OVER HIS OR HER MIND ) MUST BE A MANIPULABLE OBJECT 7HERE DOES THIS SENSE OF CONTROL COME FROM &OUCAULT EQUATED SCHOOLS WHICH ARE hINSTITUTIONS ENTRUSTED WITH TRUTHv WITH PRISONS AS THEY ARE CONSTANTLY OBSERVED IN ORDER TO BE CONTROLLED ) D EQUATE SCHOOLS WITH PRISONS ONLY WHEN THEY ATTEMPT TO REPRESENT THE TRUTH AS SOMETHING THAT IS NOT FOUND IN THEIR INDIVIDUAL CONTEMPLATION AND IMAGINATION

,EARNING IS FULL OF HOURS SPENT l LING AWAY DEl NITIONS )F YOU NEVER LEARN TO MAKE CONNECTIONS BETWEEN THOSE DEl NITIONS TO MAKE RELATIONSHIPS THEN IT NEVER BECOMES MEANINGFUL )F YOU ASK YOURSELFxWHAT IF THIS WERE NOT TRUE )MAGINE THE CONSEQUENCES AND THEN THE IDEA MAKES SENSE 7ITH SPECULATION THERE IS AGAIN CAUSE AND EFFECT AND A SENSE OF POWER 0HILOSOPHERS HAVE APPROACHED GAMES OF TRUTHˆ THE RELATION BETWEEN MIND AND BODY INDIVIDUAL AND SOCIETY POWER AND OBLIGATION AND LANGUAGE AND KNOWLEDGEˆIN VERY DIFFERENT WAYS STARTING FROM DIFFERENT ASSUMPTIONS )N COMMON THEY SHARE A DEEP CURIOSITY THEY QUESTION AND MORE IMPORTANTLY THE REQUISITE SEARCH FOR THE ANSWERS FORCES A DEGREE OF EXTREME PRECISION IN DEl NITIONS 4HEY MUST SPEAK AND EVEN LEARN WITH INTENT +ANT SAID hWE SHALL LOOK UPON OURSELVES AS ACTING IN CONFORMITY WITH THE DIVINE WILL ONLY IN SO FAR AS WE HOLD SACRED THE MORAL LAW WHICH REASON TEACHES US FROM THE NATURE OF ACTIONS THEMSELVESv ,ET ME RETURN TO THE ORIGINAL QUESTION 7HAT WOULD THIS OBJECT DO -Y IDEAL OBJECT WOULD IMPLY AN INCORRECT ANSWER HELP A STUDENT TO l ND CAUSE AND RESULT AND ARRIVE AT THE CORRECT ANSWER

Ê ÕÀiÊv ÀÊ ià } iÀÃÊ V

4HE -YTH (ISTORY OF $UAL $ESIGN !LL HISTORY IS IN SOME SENSE MYTHOLOGY AND OUR AUTOBIOGRAPHY OF OR WORK IS NO DIFFERENT 9ET AT SOME POINT WE HAVE TO TELL THE STORY OF WHAT WE HAVE DONE n HOPING THAT FROM IT YOU CAN SEE AND JUDGE WHAT WE ARE TRYING TO DO /UR PROJECT BEGAN WITH THIS INITIAL OUTLINE hx4HIS PROJECT WILL INCLUDE THE SUSTAINABLE PRACTICE OF TRANSFERRING DONATED MERCHANDISE FROM DESIGN AND MANUFACTURING BUSINESSES TO INDIVIDUALS &2%% TO TEACHERS FOR USE IN THEIR CLASSROOM AND SCHOOL !RCHEWORKS WILL HELP DESIGN THE STORE PACKAGING MANAGING THE DONATIONS

PROMPTING AND GRAPHICALLY DEVELOPING THE IDENTITY FOR THE STORE AND PRODUCTS v !T OUR GROUP S l RST MEETING DURING OUR FALL RETREAT IN 3EPTEMBER JUST AFTER THE TRAGIC HURRICANES THAT STRUCK ,OUISIANA AND 4EXAS WE DECIDED THAT OUR PROJECT NEEDED TO ADDRESS IMMEDIATE CONCERNS !T THAT SESSION WE ALL CONTRIBUTED OUR INITIAL QUESTIONS CONCERNS AND HOPES FOR OUR NEW PROJECT $URING OUT l RST SESSION WE DEVELOPED A MISSION STATEMENT h7E WILL ENGAGE TEACHERS AND STUDENTS IN THEIR LEARNING SPACE BY PRODUCING DESIGN SOLUTIONS

RECIPES MAKING THE PRODUCTS AND SHARING THEM 7E WANT TO IDENTIFY TEACHER AND STUDENT NEEDS BEYOND THE PENCIL AND PAPER 7E WANT TO ENSURE THAT DISADVANTAGED YOUTH HAVE WELL DESIGNED LEARNING TOOLS SO THAT THEIR EDUCATIONAL

EXPERIENCES ARE NOT LIMITED BY AN UNINSPIRING LEARNING ENVIRONMENT !T THE END OF OUR YEAR WE WILL INVITE EDUCATORS TO COME AND CLAIM MATERIALS AND SUPPLIES FOR THEIR CLASSROOMS AT AN OPEN MARKET AT WHICH WE WILL DISPLAY THE PRODUCTS DESIGNED THROUGHOUT THE YEARv )N THE WEEKS FOLLOWING OUR GROUP RESEARCHED NOT FOR PROl T ORGANIZATIONS

GOVERNMENT PROGRAMS AND NUMEROUS GRANT OPPORTUNITIES AVAILABLE TO EDUCATORS AND SCHOOLS /UR INITIAL RESEARCH ENLIGHTENED US ON PROBLEMS CONCERNING PUBLIC SCHOOL EDUCATORS AND STUDENTS 7E DISCOVERED THAT A LARGE NUMBER OF STUDENTS LIVE BELOW THE POVERTY LINE IN SCHOOL DISTRICTS WITH FUNDING THAT IS SO MEAGER THAT STUDENTS DO NOT EVEN HAVE THEIR OWN COPIES OF THEIR BOOK LIMITING THE AMOUNT OF HOMEWORK THEY HAVE AND WORK THEY ARE ABLE TO DO OUTSIDE THE CLASSROOM 2ESEARCHING SUPPLY COSTS WE FOUND THAT TEACHERS ANNUALLY RECEIVE A STIPEND FROM #HICAGO 0UBLIC 3CHOOLS #03 WHICH IS UTILIZED FOR CLASSROOM SUPPLY COSTS FOR THE YEAR 5NDERSTANDING THAT SCHOOLS ARE INCREASINGLY BECOMING MORE AND MORE OVER CROWDED AND THAT TEACHERS

ESPECIALLY HIGH SCHOOL TEACHERS WHO TEACH UP TO SEVEN CLASSES A DAY WITH SEVEN DIFFERENT GROUPS OF THIRTY STUDENTS

ABSORB THE COST OF SUPPLYING A DAY S

WORTH OF STUDENTS WITH PENCILS WHICH CAN COST UPWARDS A DAY 0ROVIDING STUDENTS WITH EVEN THE MOST BASIC SUPPLIES IS A SERIOUS PROBLEM 7HILE THERE ARE A NUMBER OF DONATION CENTERS ACROSS THE NATION SUPPLYING EDUCATORS WITH FREE CLASSROOM SUPPLIES IS LIMITED IN SCOPE AND CANNOT REACH ALL OF THE SCHOOLS THAT ARE IN NEED %ACH RESOURCE CENTER CAN ONLY SERVE SO MANY SCHOOLS IN A GIVEN AREA 4HEIR BASIC SUPPLIES RUN OUT IMMEDIATELY LEAVING THEIR STORES STOCKED WITH GOODS THAT ARE DIFl CULT FOR TEACHERS TO USE 3INCE THE ORIGINAL GOAL OF OUR PROJECT WAS TO CREATE A FREE RESOURCE CENTER IN #HICAGO WE CONTACTED THE 4EACHER 2ESOURCE #ENTER IN #HICAGO PART OF A LARGER ORGANIZATION CALLED 7ORLD 6ISION 7E ALSO DEVELOPED A RELATIONSHIP WITH ONE OF THE MOST WELL RUN FREE STORES FOR TEACHERS #RAYONS 4O #OMPUTERS OF #INCINNATI /HIO

HEADED BY 3HANNON #ARTER 3HANNON S IDEA FOR CREATING A FREE TEACHER RESOURCE CENTER CAME ABOUT DURING HER PARTICIPATION IN A GROUP PROJECT WHICH RESEARCHED EDUCATIONAL PROBLEMS AND FELT THAT ONE WAY TO ALLEVIATE THEM IN THE #INCINNATI 0UBLIC 3CHOOL SYSTEM WOULD BE TO PROVIDE TEACHERS WITH SCHOOL SUPPLIES FREE OF COST 3INCE THAT TIME #RAYONS TO #OMPUTERS HAS BEEN A SUCCESSFULLY RUN ORGANIZATION THAT HAS GIVEN AWAY THE EQUIVALENT OF SOME l VE MILLION DOLLARS OF SCHOOL SUPPLIES 7E VISITED BOTH ORGANIZATIONS LEARNED THE PROCESS OF HOW AND WHERE DONATED MATERIALS ARE RECEIVED AND THEN REPURPOSED 7E EVEN OBTAINED MATERIALS GIVING US A BETTER UNDERSTANDING OF THE MATERIALS THAT

ARE DONATED TO THESE PROGRAMS INCLUDING THE MOST POPULAR SUPPLIES SUCH AS PENCILS PENS PAPERS BINDERS

CRAYONS SCISSORS RULERS ETC %VERYTHING ELSE WAS A HODGEPODGE OF MATERIALS THAT WERE EITHER REPURPOSED AS AN EDUCATIONAL TOOL OR LEFT AS IS IN ITS ORIGINAL FORM !FTER OUR INITIAL PHASE OF RESEARCH IT BECAME APPARENT TO OUR GROUP THAT OUR CONTRIBUTION WOULD HAVE TO BE SUSTAINABLE SOMETHING THAT COULD BE CARRIED ON ONCE WE WERE GONE 7HILE !RCHEWORKS COULD IN FACT CHOOSE TO KEEP UP THE ORGANIZATION AND WORKINGS OF A PHYSICAL STORE A FREE RESOURCE CENTER FOR TEACHERS AND STUDENTS

HOW LONG WOULD IT LAST 7OULD FUTURE GENERATIONS OF STUDENTS AT !RCHEWORKS FEEL LIMITED BY HAVING TO RUN AND MAINTAIN A PHYSICAL STORE 7E DECIDED THAT WE WANTED OUR PROJECT TO BE ABLE TO LIVE ON EVEN WITHOUT THE PRESSURE OF OUR GROUP OR FUTURE !RCHEWORKS STUDENTS 3INCE THEN OUR PROJECT HAS NOT ONLY FOCUSED ON HOW TO PROVIDE GOODS FOR TEACHERS AND STUDENTS BUT TO UTILIZE DESIGN IN THE PROCESS (OW WOULD GOOD DESIGN AFFECT EDUCATIONAL TOOLS AND RESOURCES 7HEN COMING TO THE CONCLUSION THAT WE DID NOT WANT TO CREATE A PHYSICAL STORE OUR NEXT STEP WAS ATTEMPTING TO FORMULATE A PLAN FOR WHAT WE WANTED TO DO !FTER UTILIZING THE MATERIALS DONATED TO US IN ORDER TO CREATE EDUCATIONAL TOOLS WE BEGAN TO FEEL LIMITED BY THE MATERIALS WE WERE USING /UR DESIGNS WERE FORCED

AND DID NOT REALLY WORK &OR THIS REASON AFTER MANY BRAINSTORMING SESSIONS WE BEGAN TO THINK BEYOND OUR MATERIALS ALLOWING US GREATER FREEDOM WHICH IN TURN LED US TO DESIGN IDEAS OF A MORE INSPIRED NATURE

)N DEVELOPING OUR PRODUCT DESIGNS WE BEGAN TO THINK ABOUT OUR hBRAND v OUR IDENTITY THAT REPRESENTED VISUALLY AND VERBALLY OUR GROUP "Y MID YEAR OUR GROUP WAS JUST BEGINNING TO SOLIDIFY WHAT WE WERE GOING TO FOCUS ON n OUR PRODUCT DESIGNS LOGO AND WHAT WOULD BE OUR l NAL GOAL 7E STILL HAD MANY SCHOOLS TO VISIT MORE RESEARCH TO UNDERTAKE AND MUCH MORE DEVELOPMENT OF PRODUCTS IDENTITY AND LOGO )T WAS ONLY IN PREPARATION FOR A PUBLIC CRITIQUE THAT OUR GROUP BEGAN TO COME TO THE CONCLUSION THAT WHAT WE ARE TRYING TO DO IS ENGAGE PEOPLE IN A PROCESS 7HILE WE CAN CREATE GOODS THAT ARE WELL DESIGNED IT IS THE RECREATING OF THE PROCESS THAT IS MOST BENEl CIAL %NGAGING GROUPS THAT WOULD NOT OTHERWISE TAKE PART IN A DIALOGUE 4HAT IS WHEN OUR DESIGNS BECAME MORE THAN JUST EDUCATIONAL PRODUCTS 4HEY BECAME OBJECTS THAT BROUGHT DIFFERENT GROUPS TOGETHER BRINGING THESE DISTINCT VOICES TO LIGHT AND MAKING THEM HEARD )T ALLOWS TEACHERS AND STUDENTS TO TAKE A BEHIND THE SCENES LOOK AND A PROACTIVE APPROACH TO THEIR LEARNING SPACES /UR PROCESS IS SIMPLE AND THE PUNCH LINE NOT ALL THAT UNFAMILIAR 7HAT WE HAVE BEEN TRYING TO SAY IS THAT YOU HAVE THE POWER TO BE YOUR OWN BEST RESOURCE AND THIS IS HOW DESIGN CAN HELP YOU REALIZE THIS

4HEORIZING #REATIVITY 3O WE ASKED 7HERE DO THE GOOD IDEAS COME FROM /UR GROUP HAS AIMED TO DEVELOP EDUCATIONAL TOOLS FROM DONATED MATERIALS THAT ARE MORE THAN PRETTY 4HEY SHOULD BE SUSTAINABLE AND HAVE RESONANCE IN THE CLASSROOM !S SUCH OUR PROCESS OF DESIGNING THESE ITEMS IS AS IMPORTANT AS THE ITEMS THEMSELVES /NE WAY WE VE APPROACHED THIS IS BY COMPARING METHODS THAT ALTERNATE TACTIC AND OBJECTIVE )F WE PUT THE TACTIC BEFORE THE OBJECTIVE WE START WITH AN END RESULT AND BACK INTO A RATIONALE FOR IT 4HIS IS USUALLY AN EASILY IMPLEMENTED SOLUTION THAT OFFERS IMMEDIATE GRATIl CATION BUT IT IS ULTIMATELY A SHORT TERM SOLUTION )F WE PUT THE OBJECTIVE BEFORE THE TACTIC WE ARE CHALLENGED WITH CONCEPTUALIZING SOLUTIONS FROM THEORIES OR CURRICULAR RATIONALE BUT THE RESULTS WILL BE LONGER TERM 7HILE OUR GROUP RECOGNIZES THE VALUE IN EACH APPROACH

OUR EMPHASIS IS ON THE LATTER

4HE -IDDLE 2ANGE )N MOST DISCRETE REALMS OF THINKING THE WORD THEORY HAS BEEN BANDIED ABOUT SO MUCH THAT IT RISKS BECOMING MEANINGLESS )NDEED IN SOME PARTS OF THE MODERN WORLD n ESPECIALLY THOSE MOST CLOSELY RELATED TO BUSINESS n THEORY IS SOMETHING OF A BAD WORD )NDIVIDUALS DO THEIR WORK WITH MINOR WORKING HYPOTHESES WHICH ARE SO OFTEN NOT EVEN APPARENT TO THEM 4HE DISTANCE FROM THE GRAND THEORY BY WHICH THEY PURPORT TO LIVE IN DAILY PRACTICE IS UNNAVIGABLE )N PHYSICS THERE IS NO SUCH THING AS A UNIFYING THEORY .OR DOES SOCIOLOGY HAVE ONE 9ET THEORY IN THE GRANDEST OF SENSES REMAINS ESSENTIAL TO THE PRACTICE OF DESIGN &ROM CONCEPT TO PROGRAM TO COMPLETION DESIGN TAKES AN IDEA n HOWEVER PARTIALLY FORMED n AND TURNS IT INTO A THING %VERY MODERATELY FAMOUS ARCHITECT HAS HER OR HIS OWN THEORY OF HOW DESIGN AND STRUCTURE WORK TOGETHER 0ROPERLY SPEAKING THEY ARE WHAT 2OBERT -ERTON CALLS THEORIES OF THE MIDDLE RANGE n THEY EXIST BETWEEN THAT STATE OF GRAND UNIFYING THEORY AND THE PARTICULAR WORKING HYPOTHESIS 7E CAN MAKE MUCH MORE SENSE OF MULTIPLE THEORIES OF THE MIDDLE RANGE IF WE TREAT THEM AS SUCH AND ENGAGE THEM AS INTELLECTUAL CONSTRUCTS ON THEIR OWN TERMS %ACH CAN BE USED TO APPROACH PARTICULAR KINDS OF COMPLEX CONCEPTUAL PROBLEMS MANY OF WHICH HAVE NO RESOLUTION IN AN ABSOLUTE SENSE 9ET IN THE INTERSTICES OF MULTIPLE INDIVIDUAL INSTANCES WE CAN LEARN MUCH OF

HOW TO CONCEPTUALIZE THEM HOW TO SHAPE THEM INTO A PROGRAM AND HOW TO MAKE BEING OUT OF THAT PROGRAM 7E CAN ALSO LEARN HOW LANGUAGE IS USED TO CONCEAL THEIR SHORTCOMINGS

-ATERIAL 4RANSFORMATIONS )N THE PRACTICE OF DESIGN THEORY REMAINS THE ESSENCE OF GREAT WORK &ROM CONCEPT TO PROGRAM TO COMPLETION

DESIGN TAKES AN IDEA AND TURNS IT INTO A THING 4HE THEORIES THAT TEND TO FUEL SUCH WORK DO NOT ACCOUNT FOR THE TOTALITY OF THE EXPERIENCED WORLD RATHER THEY ARE FREQUENTLY MERE DEVICES FOR THE AGGRANDIZEMENT OF THE AESTHETIC THAT DESIGNER WISHES TO WORK WITH AS IF TO SAY hLOOK HERE THIS IS IMPORTANT v )F WE APPROACH THEORY IN THIS MANNER

A SINGLE PROJECT MAY BECOME MORE INTELLIGIBLE BUT WE LEARN LITTLE ABOUT THE WAY IN WHICH TO APPROACH COMPLEX CONCEPTUAL PROBLEMS OR HOW TO SOLVE THEM 0ERHAPS IT IS TRUE THAT SOME INTELLECTUAL CONSTRUCTS HAVE NO RESOLUTION IN AN ABSOLUTE SENSE "UT IN THE LIVED WORLD AND ESPECIALLY IN DESIGNED ENVIRONMENTS

THE OBJECTS WE LIVE WITH SHAPE THE WAYS WE ARE CAPABLE OF THINKING 4HE PROLIFERATION OF THE PERSONAL COMPUTER PUTS THIS PROBLEM IN STARK CONTRAST n HOWEVER MUCH WE IMAGINE OUR LIVES ARE BECOMING MORE VIRTUAL WE SEEM TO BE l LLING THEM WITH MORE THINGS !S OUR MATERIAL LIVES BECOME MORE COMPLEX WE NEED MORE SOPHISTICATED WAYS OF UNDERSTANDING THEM 7HY DO WE SPEAK AS IF THE UTILITY OF OBJECTS IS SIMPLY SELF EVIDENT 7HY DO WE FEAR THE ALIENATION THAT COMES WITH LIVES LIVED hON THE SCREENv AND PRETEND THE CURE TO SUCH AN ALIENATED LIFE IS TO GIVE AWAY ALL OF OUR BELONGINGS 7HY DO WE ALTERNATELY VALORIZE AND DEMONIZE THE MOST COMPLEX FORMS OF MATERIALISM n ROBOTS AND ARTIl CIAL INTELLIGENCE n THAT WE HAVE MANAGED TO MAKE

4HE THEORY OF MATERIAL THINGS n NOT MERELY THE OBJECTS THEMSELVES BUT THE WAY WE LIVE AS SUBJECTS WITH THOSE OBJECTS n IS INCOMPLETE AND FREQUENTLY POORLY UNDERSTOOD 9ET ARTISTS AND DESIGNERS ACT ON THIS THEORY EVERY DAY AND MEASURE BY MEASURE BRING IT BACK TO OUR ATTENTION 7HAT COULD WE ACCOMPLISH AS ARTISTS IF WE ENGAGED THE THEORY OF MATERIAL THINGS WITH THE FULL POWERS OF OUR MINDS

+NOWLEDGESCAPES ,UDWIG -IES VAN DER 2OHE "ORN IN !ACHEN 'ERMANY IN AS ,UDWIG -IES HE WORKED IN HIS FATHER S STONE CARVING SHOP BEFORE HE MOVED TO "ERLIN AND JOINED THE OFl CE OF "RUNO 0AUL (E WORKED AT THE DESIGN STUDIO OF 0ETER "EHRENS FROM TO WHERE HE WAS EXPOSED TO THE CURRENT DESIGN THEORIES AND TO PROGRESSIVE 'ERMAN CULTURE (IS EARLY CAREER BEGAN TO TURN AWAY FROM ARCHITECTURAL TRADITION AND LED THE SEARCH FOR A NEW STYLE FOR A NEW ERA !LTOGETHER ABANDONING ORNAMENT -IES PROPOSED THE l RST ALL GLASS SKYSCRAPER IN FOLLOWED BY A SERIES OF SIMILAR STUNNING PROJECTS AND CULMINATING IN THE 'ERMAN 0AVILION FOR THE "ARCELONA 7ORLD S FAIR IN !S A PROFESSOR AND LATER DIRECTOR OF THE "AUHAUS SCHOOL HE DESIGNED SEVERAL CLASSIC PIECES OF MODERN FURNITURE INCLUDING THE "ARCELONA CHAIR AND TABLE 4HE RISE OF THE .AZI PARTY CHASED -EIS FROM 'ERMANY TO #HICAGO IN WHERE HE WOULD TURN THE )LLINOIS )NSTITUTE OF 4ECHNOLOGY INTO ONE OF THE POWERHOUSES OF 53 ARCHITECTURAL TRAINING /VER THE NEXT YEARS HE WOULD BUILD A LARGE PORTION OF THE #HICAGO SKYLINE WITH HIS SIGNATURE BLACK EXPOSED STEEL BEAMS h,ESS IS -OREv n ,UDWIG -IES VAN DER 2OHE /N THE FACE OF IT THIS IS AN ABSURD STATEMENT LESS IS QUITE SIMPLY LESS 9ET THE VISUAL SIMPLICITY OF VAN DER 2OHE S DESIGNS AS ANY RESIDENT OF #HICAGO WILL ATTEST MAKES THE POWER OF SUCH A DESIGN PHILOSOPHY MANIFESTLY EVIDENT %VEN SO MANY OF HIS WORKS CONTAIN

SIMPLE ELEMENTS THAT CAN ONLY BE CALLED ORNAMENTATION n THEY SERVE NO STRUCTURAL PURPOSE AND SERVE TO COMPLEX THE VISUAL LANDSCAPE "UT THE OVERWHELMING BURDEN OF SIMPLE ENGINEERING ELEMENTS MAKES THE PARTICIPANT IN SUCH A VISUAL LANDSCAPE OVERLOOK SUCH ORNAMENTATION n MAKES ONE ACT AS IF IT DIDN T EXIST )N LIVED ENVIRONMENTS FOR LESS TO BE MORE PARTICIPANTS MUST BE ENCOURAGED TO FORGET THE COMPLEXITY INHERENT IN THE WORLD AND EMBRACE THE SIMPLICITY 4HERE IS PERHAPS NO DESIGN PROBLEM WHERE THE TENSION BETWEEN SIMPLICITY AND COMPLEXITY IS AS EVIDENT AS THE DESIGN OF KNOWLEDGE SPACES 0UBLIC OR PRIVATE PRESENCES ON THE WORLD WIDE WEB ARE PERHAPS SOME OF THE TRICKIEST DESIGN PROBLEMS OF THIS SORT n MAXIMAL INFORMATION NEEDS TO BE CONVEYED WITH MINIMAL EFFORT

ALLOWING VISITORS TO l ND WHAT THEY IMAGINE TO BE THE MAXIMALLY RELEVANT INFORMATION IN THE SIMPLEST WAY POSSIBLE +NOWLEDGE IS OFTEN A PROCESS OF FORGETTING THE IRRELEVANT AS MUCH AS IT IS A PROCESS OF REMEMBERING THE RELEVANT $ESIGNING EDUCATION REQUIRES CAREFUL CALCULATION AS WELL AS DESIGN n AS SYSTEMS GROW MORE COMPLEX IN THEIR CONTENT AND DELIVERY THE ENGINEERING DESIGN BECOMES EXPONENTIALLY MORE COMPLEX 4O MAKE THEM POWERFULLY EFFECTIVE AS WELL AS SIMPLY DELIVERABLE REQUIRES CAREFUL DESIGN "UT MAKING THEM HOPELESSLY DEVOID OF MEANINGFUL IDEAS IS EVERY INSTRUCTIONAL DESIGNER S WORST FEAR

-ATERIAL %COLOGIES ,OUIS 3ULLIVAN h&ORM EVER FOLLOWS FUNCTIONv n ,OUIS (ENRI 3ULLIVAN ,OUIS 3ULLIVAN &AMED #HICAGO ARCHITECT ,OUIS 3ULLIVAN WAS BORN IN "OSTON AND STUDIED ARCHITECTURE AT THE -ASSACHUSETTS )NSTITUTE OF 4ECHNOLOGY AND THE ³COLE DES "EAUX !RTS IN 0ARIS !PART FROM A YEAR OF WORK IN 0HILADELPHIA BEFORE HE TURNED 3ULLIVAN DID MOST OF HIS WORK IN #HICAGO REBUILDING THE CITY AFTER THE GREAT l RE OF

AND IS CONSIDERED ONE OF THE LEADING LUMINARIES OF THE #HICAGO 3CHOOL OF !RCHITECTURE 0ARTNERED WITH $ANKMAR !DLER FROM ONWARD

3ULLIVAN COMPLETED DOZENS OF STEEL FRAME HIGH RISES ACROSS THE 5NITED 3TATES AND IS CREDITED WITH BEING THE l RST ARCHITECT TO l ND A NEW AESTHETIC FOR THE STEEL HIGH RISE "Y DIVIDING THE VISUAL l ELD INTO A BASE OFTEN THE l RST AND SECOND STORIES A PEDIMENT USUALLY THE TOP m OOR AND A SHAFT THE m OORS IN BETWEEN THE SURFACE OF A HIGH RISE APPEALS TO A VISITOR AT A SCALE THEY l ND FUNDAMENTALLY INTELLIGIBLE 3ULLIVAN HAD A COMPLEX RELATIONSHIP WITH THE ORNAMENTATION OF A BUILDING n WHILE HIS m ORAL PATTERNS REMAIN HIS UNIQUE ARCHITECTURAL SIGNATURE IN HIS LATER YEARS HE SEEMED ALMOST WILLING TO ABANDON ORNAMENT ENTIRELY )N FACT THE FAMOUS "AUHAUS ARCHITECT !DOLF ,OOS AUTHOR OF h/RNAMENT AND #RIMEv HAD WORKED IN 3ULLIVAN S OFl CE 9ET IN EVERY WORK HE COMPLETED

n FROM THE !RT .OUVEAU #ARSON 0IRIE 3COTT "UILDING TO THE FAMED 4RANSPORTATION "UILDING AND HUGE ARCHED h'OLDEN $OORv OF THE 7ORLD S #OLUMBIAN %XPOSITION

HELD IN #HICAGO IN n THE EVIDENCE OF A MIND HUNGRILY DECODING THE ESSENCE OF ARCHITECTURAL DESIGN IS APPARENT 3ULLIVAN WAS ALSO THE MENTOR OF &RANK ,LOYD 7RIGHT 4HIS OFT REPEATED AND AS OFTEN MISQUOTED ARGUMENT WHILE NOT SO OBVIOUSLY ABSURD AS THE l RST IS NO LESS WRONG &ORM A PROPERTY OF GROUPS OF THINGS CAN ONLY BE SAID TO RELATE TO FUNCTION IN SO FAR AS A SINGLE FORM IS RECOGNIZABLE AS HAVING A FUNCTION ! SPHERE FOR EXAMPLE CAN SERVE AS A BEACH BALL A SCOOP OF ICE CREAM

OR A PLOT DEVICE AS IN 8 -EN OR ) y (UCKABEES %ACH HAS A DISTINCT FUNCTION AND NONE OF THEM NEED TO BE SPHERES /N THE OTHER HAND

THE PLETHORA OF SCULPTURES THAT HAVE ENDURED THROUGH CENTURIES SHOW THAT

IN SOME SENSE IT IS ORNAMENTATION THAT ENDURES BEST 4HE THOUSANDS OF TEMPLES BUILT BY THE GLORY OF 2OME SERVE TWO PURPOSES n THEY ARE CHURCHES OR THEY ARE RUINS )N 3ULLIVAN S OWN WORK AS WELL AS THAT OF &RANK ,LOYD 7RIGHT TO

WHOM THE QUOTE IS OFTEN ATTRIBUTED ORNAMENTATION IS WHAT AN INTERLOCUTOR NOTICES THE MOST AND INDEED RESPONDS TO THE MOST 4HE FEW DOZEN REPRODUCTIONS OF 7RIGHT S HOUSES ARE VASTLY OVERSHADOWED BY THE TENS OF THOUSANDS OF REPRODUCTIONS OF HIS STAINED GLASS WINDOWS CUPS PLATES ETC THAT ARE SOLD BY MUSEUM STORES ACROSS THE 5NITED 3TATES EVERY YEAR -OST OF THEM DON T EVEN REALLY GET USED FOR THEIR ORIGINAL PURPOSE )N THIS SENSE MOST OF ALL FUNCTION FOLLOWS FORM 4HE DURABILITY OF THE WORK OF 7RIGHT OR 3ULLIVAN GROWS FROM THE MYTHOLOGY OF THESE MEN AND THEIR CREATIONS AS CULTURAL ARTIFACTS n THEY STAND AS EMBLEMS FOR A FRAGMENTARY CULTURAL VOICE OF ARROGANT EGOISM THE HEART OF THE !MERICAN IDEAL "UT THESE DESIGNS SPEAK OF THE INTIMATE THE PERSONAL THE SLIGHTLY LESS THAN HUMAN SCALE 7HAT WE DESIRE AND APPROVE OF IN THE DESIGNED ENVIRONMENT IS l RST AND LAST AN INTERPRETATION OF CULTURE #ULTURE ITSELF IS AN ELUSIVE CONCEPT BUT VISUAL CULTURE CAN BE READ AS A CONTINUOUS DIALOGUE BETWEEN WHAT WE SEE IN OUR ENVIRONMENT AND WHAT WE ARE TOLD IS IMPORTANT TO SEE n AND NOT TO SEE #ONTRARY TO MUCH OF THE DIALOGUE SURROUNDING CONTEMPORARY ART THE THINGS WE LIKE TO LOOK AT THE MOST TELL US WHAT WE ARE ALLOWED TO SEE AND WHAT WE ARE BETTER OFF IGNORING

,ETTER FROM %RIKA 3 $EAR 7ORLD

0EOPLE SOMETIMES ASK ME h7HAT MADE YOU WANT TO START DOING THAT v )T IS NOT ALL THAT COMMON

APPARENTLY TO START ONE S BALLET TRAINING IN ONE S LATE TWENTIES !T l RST ) AM STYMIED

BY THE QUESTION "ECAUSE THE FACT IS ) CANNOT RECALL A SINGLE MOMENT OR EVENT THAT SLAPPED ME IN THE FACE WITH A DESIRE TO LEARN DANCE ) THINK ) ALWAYS LIKED TO DANCE INCLUDING BALLET )T IS JUST THAT ONE DAY ) DECIDED TO STOP PLAYING AND DO IT FOR REAL ! TEXTBOOK INTROVERT ) HAVE ALWAYS TURNED TO MY INNER WORLD TO DEAL WITH THE ONE THAT EXISTS OUTSIDE OF ME )T IS PROBABLY FAIR TO SAY THAT ) OFTEN GET THE TWO CONFUSED 7HEN ) DECIDED TO TAKE MY l RST DANCE CLASSES AS AN ADULT IT WAS PERHAPS A STEP TOWARDS RECONCILING AND ACCEPTING THE BOUNDARY BETWEEN THE TWO WORLDS MY INNER BALLERINA WANTED TO BE LEGITIMIZED AND RECOGNIZED AND SHE NEEDED TO EXIST IN THE OUTSIDE WORLD FOR THAT TO HAPPEN 4HE MOMENT OF DECISION WHEN THAT RESOLUTION WAS MADE WAS A GROWING UP MOMENT !ND THE SUBSEQUENT YEARS OF DANCE HAVE BEEN AVENUES THROUGH WHICH AN INNER VOICE COULD SAFELY BE CHANNELED OUT INTO THE OPEN 3IMILARLY THE DESIGNER INSIDE ME HAS BEEN SEEKING A VOICE !LWAYS ARTISTICALLY MOTIVATED IT

NONETHELESS NEVER SEEMED LIKE A LEGITIMATE OPTION TO BE SERIOUS ABOUT ART ) DABBLED IN RECREATIONAL ACTIVITIES THAT INDULGED MY CREATIVE SELF "UT ONE DAY ANOTHER MOMENT OF DECISION ARRIVED AND ) BEGAN THE PROCESS OF GIVING MYSELF PERMISSION TO LIVE ARTFULLY WHICH LED ME TO !RCHEWORKS ) REALIZED SEVERAL MONTHS INTO THIS EXPERIENCE THAT WHAT ) MOST WANTED OUT OF IT WAS A LEGITIMIZATION A BLESSING A CONl DENCE BOOSTER OF MY DESIGN SKILLS 4HIS REALIZATION CAME AT A MOMENT WHEN ) EXPERIENCED A CONSTRICTING FEAR THAT IT MIGHT NOT ACTUALLY HAPPEN 4HAT ) COULD MAKE ALL THE SACRIl CES AND EXPERIENCE ALL THE ANGST AND STILL END UP WITH NOTHING "UT THEN ) REALIZED THAT NO ONE OR NO THING CAN MAKE ME A REAL DESIGNER /NLY ) CAN DO THAT ) BELIEVE ) HAVE HAD THE QUINTESSENTIAL !RCHEWORKS EXPERIENCE AS ) UNDERSTOOD IT TO BE WHEN ) BEGAN THE PROGRAM )N THE PAST EIGHT MONTHS ) FELT A STRONG CONm ICT BETWEEN DESIGN AS ) ENVISIONED IT AND DESIGN IN A MORE COLLABORATIVE SENSE 4HE LIMITS OF MY COMFORT ZONE HAVE BEEN REDEl NED ) WAS MANY TIMES ANXIOUS WORRIED FRUSTRATED OR ANGRY 9ET ) ACCOMPLISHED WHAT ) SOUGHT TO ACHIEVE WHEN ) ENTERED THIS PROGRAM ) NOW THINK OF MY SELF IN A WAY ) WAS PREVIOUSLY AFRAID TO 4HE OUTSIDE AND THE INSIDE ARE NOW A BIT MORE AT PEACE )F THIS EXPERIENCE WERE A BALLET ) MIGHT NOW BE REMINDING MYSELF TO STAY FOCUSED FOR THE l NAL SCENE 4HE PERFORMANCE MIGHT BE ALMOST OVER

BUT THAT MAKES IT EVEN MORE IMPORTANT TO STAY MENTALLY SHARP 4HE SUBSEQUENT BOWS WOULD BE FOLLOWED BE A SWIFT RETURN TO REHEARSAL WITH URGENT DIRECTION ON HOW TO MAKE THE NEXT SHOW BETTER 3IMILARLY AS !RCHEWORKS KICKS ME OUT INTO THE DESIGN COMMUNITY BETTER PREPARED TO EXIST WITHIN IT ) KNOW THE THRILL OF THE ACHIEVEMENT WILL QUICKLY BE REPLACED BY AN OBLIGATION TO DO SOMETHING ABOUT IT ) LOOK FORWARD TO DOING JUST THAT 3INCERELY 9OURS

%RIKA

1ÃiÀÊ ÌiÃ

0LAY AND ,EARNING &OR A STUDENT LEARNING IS ALWAYS AN ACT OF DISCOVERY $ESIGN IS ALSO A KIND OF DISCOVERY "OTH COULD ALSO BE DESCRIBED AS A DYNAMIC EVENT A REMEMBERED MOMENT OF PLAY 0LAY IS ONE OF THE l RST ACTIVITIES OF ANY CHILD )T IS AN INTERSECTION OF INTELLECT AND SENTIMENT THE RAPTURE OF FUN AND THE INTELLECTUAL STIMULATION OF FOLLOWING THE RULES OF THE GAME )F PLAY GENERATES THE LOGICAL BASIS AND SOCIAL CONTEXT FOR MORALITY DESIGNING TOOLS AND EDUCATION IN GENERAL MUST SEEK TO UNDERSTAND PLAY AND GAMES 0LAY IS DIFFERENT FROM ORDINARY LIFE IN DURATION LOCALITY

SECLUDEDNESS AND ITS LIMITED RULES )T IS MARKED BY REPETITION AND ALTERNATION WHICH HELPS CHILDREN DEVELOP A SENSE OF CAUSE AND EFFECT AND BEGIN TO LEARN TO REASON AND DISTINGUISH BETWEEN WHAT THEIR SENSES TELL THEM AND REALITY IN PEEK A BOO FOR EXAMPLE A CHILD MAY LEARN THAT SOME HIDDEN IS NOT NECESSARILY GONE 0LAY IS DEl NED BY ENDING OUTSIDE THE hPLAYGROUNDv 4O LIVE LIFE AS PLAY EACH INDIVIDUAL HAS TO BE LIVING IN A SYSTEM OF EXPLICIT RULES WHICH THEY KNOW AGREE TO PLAY AND LIMIT THE EFFECTS OF PLAY TO THE PLAYGROUND %DUCATION THEN SHOULD SEEK TO HELP US MAKE EXPLICIT THE IMPLICIT UNDERSTANDING WITHIN EACH COMMUNITY GROUP BY UNDERSTANDING THE HISTORY CULTURE ETC TO l ND A COMMUNITY OF WHICH WE WISH TO BE PART 0LAY COMMUNITIES OFTEN FORM COMMUNITY GROUPS OUTSIDE OF THE PLAY CIRCLE 0LAY CAN BE USED TO HELP CREATE INTERDEPENDENT OVERLAPPING COMMUNITIES THAT KEEP EACH IN MIND

4O LEARN WE SUPPOSEDLY NEED A hQUIETv ENVIRONMENT 7HEN DESCRIBING AN IDEAL LEARNING SPACE OUR GROUP INSISTED ON HAVING THINGS TO LOOK AT ROOM TO ADJUST CHANGE POSTURE AND EVEN INCLUDED PLEASANT WHITE NOISE )NSTRUCTORS MUST l LL OUT RUBRICS MATCH LEARNING OBJECTIVES TO ACTIVITIES GRADE ACTIVITIES DISCIPLINE CHILDREN PREPARE MATERIALS AND COMPLETE ADMINISTRATIVE PAPERWORK 4HEY NEED TO GIVE LECTURES ON TOPICS BE THE SUBJECT MATTER EXPERT AND FACILITATE AND MONITOR LEARNING IN INDIVIDUAL LEARNING %DUCATION AND EDUCATIONAL PSYCHOLOGY IS NOT A MINUTE STUDY NEITHER IS THE l ELD OF DESIGN (OW CAN DESIGNERS AND EDUCATORS LEARN TO HELP EACH OTHER WITHOUT REDEl NING THEIR ROLES OR LEARNING ANOTHER SKILL SET ENTIRELY 7HY WOULD THEY WANT TO

#HANGES IN KNOWLEDGE

'ENERICALLY WE CAN DESCRIBE THE SOCIAL FUNCTION OF A LEARNING INSTITUTION AS A LOCATION FOR THE EXTENDED REPRODUCTION OF KNOWLEDGE ) MEAN TO USE EXTENDED REPRODUCTION IN THE -ARXIAN SENSE HERE n A PROCESS OF REPRODUCTION THAT IS NOT INHERENTLY STABLE OVER TIME RATHER THAT IS CONSTANTLY IN A STATE OF m UX 4HE EXTENDED REPRODUCTION OF KNOWLEDGE THEN MAKES A SERIES OF INTERCONNECTED CLAIMS

OCCUR NOT ONLY WHEN NEW IDEAS EMERGE BUT ALSO WHEN WHAT WE MIGHT CALL

4HAT KNOWLEDGE ITSELF IS RADICALLY HISTORICALLY CONTINGENT

TRANSCRIPTION ERRORS OCCUR BETWEEN GENERATIONS OF THINKERS

4HAT WHAT CONSTITUTES KNOWLEDGE PER SE IS A SOCIAL ACTIVITY KNOWLEDGE IS WHAT WE THINK COLLECTIVELY

#ONSEQUENTLY THE STABILITY OF KNOWLEDGE ARISES FROM INSTITUTIONS BEING CAPABLE OF REPRODUCING EXACTLY THE SAME KNOWLEDGE IN SUBSEQUENT GENERATIONS AN UNLIKELY OCCURRENCE WHILE 4HE PARTICULARS OF APPROACHES TO THE EXTENDED REPRODUCTION OF KNOWLEDGE ARE AS VARIOUS AS THE INSTITUTIONS THAT ENGAGE IN THEM n SOME RESEMBLE EACH OTHER SUBSTANTIALLY OTHERS HAVE RESTLESSLY INNOVATED 7E MIGHT ALSO OBSERVE THAT GENERALLY SPEAKING THESE INSTITUTIONS ARE ALL QUITE SIMILAR IN THEIR ORGANIZATION

AND THAT EVEN THE NEWEST OF THEM ARE SIGNIl CANTLY SIMILAR TO INSTITUTIONS THAT HAVE EXISTED IN THE WESTERN WORLD FOR OVER l VE HUNDRED YEARS 9OU DO NOT NECESSARILY HAVE TO MIMIC THE SYSTEM ONCE YOU ENTER IT YOU CAN TRANSFORM IT 0ARALLELS MIGHT BE DRAWN TO THE INDEPENDENT OR hINDIEv ETHIC OR EVEN THE $)9 MOVEMENT IN POPULAR CULTURE TO APPEAL TO DISENFRANCHISED STUDENTS *OHN $EWEY NOTED THAT h4HE MOST IMPORTANT ATTITUDE THAT CAN BE FORMED IS THAT OF THE DESIRE TO GO ON LEARNINGv 4HE POWER INHERENT IN EDUCATION MIGHT BE ONE METHOD OF LEVERAGE TO MARKET SELF EDUCATION TO THE STUDENTS "ACK TO BACK WE ARE ALL THE SAME WE HAVE THE HUGE UNIFYING QUALITY OF HUMAN EXISTENCE AND DESPITE OUR SCATTERED AND NUMEROUS BELIEFS WE HAVE A COMMON LOSS ) IDENTIFY THAT SHARED LOSS AS THE FACT THAT BEING HUMAN WE ARE SELF AWARE WE HAVE THE ABILITY TO UNDERSTAND HOW INCREDIBLY SMALL AND INSIGNIl CANT WE ARE AND RELIGION OFTENTIMES IS ONE FACTOR IN CREATING THE PAIN OF THIS LOSS

)NSTEAD OF A REINTRODUCTION OF DIVINE GUIDANCE

WHICH WOULD ONLY BRING INTO FOCUS THE POSSIBILITY OF MORE PAIN WHY NOT INSTEAD REALIZE THAT EVERY HUMAN BEING IS EXACTLY THE SAME !ND EXACTLY THE SAME WILL HAPPEN TO ALL OF US WE DON T LAST FOREVER 7E SHOULD EMBRACE AS A FORM OF CREATIVITY THE IDEA THAT WHAT WE ARE TODAY COULD POSSIBLY BE ALL THAT WE WILL HAVE /UR SELF AWARENESS FOR EACH OTHER SHOULD REIGN SUPREME IN OUR DESIGN PRINCIPLES )N DESCRIBING ONE OF HIS CREATIONS ,OUIS +AHN CLAIMS hx)T WAS NOT BELIEF NOT DESIGN NOT PATTERN BUT THE ESSENCE FROM WHICH AN INSTITUTION COULD EMERGExv 4HE ESSENCE OF HIS CREATION DIRECTED ITS IDENTITY ITS FORM /UR ESSENCE AS HUMAN BEINGS SHOULD DIRECT OUR IDENTITY NOT A CONSTRUCTED CHARACTER MEANT TO DEl NE AND EXCLUDE

2ETURNING TO THE #HICAGO 3CHOOL )F THE INHABITANTS OF THE 7INDY #ITY HAVE ONE TALENT

IT IS THEIR ABILITY TO BRAG ABOUT THEMSELVES /VER THE YEARS THERE HAVE BEEN NUMEROUS h#HICAGO 3CHOOLS v CLAIMS THAT THE GOOD -IDWESTERN FOLKS WORKING HARD TOGETHER HAVE CREATED SOMETHING NEW AND WONDERFUL n AND FAR BETTER THAN WHAT ANYONE ELSE IS DOING /CCASIONALLY HISTORY DECIDES THAT THEY WERE RIGHT &OREMOST IN OUR MINDS AT THE MOMENT ARE TWO #HICAGO 3CHOOLS THAT WERE WITHOUT QUESTION LUMINOUS LEADERS AROUND THE TURN OF THE TH CENTURY THE #HICAGO 3CHOOL OF !RCHITECTURE AND THE #HICAGO 3CHOOL OF %THNOGRAPHY 4HE #HICAGO 3CHOOL OF !RCHITECTURE WAS COMPOSED OF SEVERAL DOZEN GREAT ARCHITECTS IN THE 7INDY #ITY WHO DEVELOPED THE l RST STEEL FRAME ARCHITECTURE 4HEIR WORK MADE POSSIBLE THE MODERN SKYSCRAPER AND SOME ARGUE WAS INSPIRATIONAL TO %UROPEAN -ODERNISM 3OME OF THE GREATEST AMONG THEM INCLUDED $ANKMAR !DLER $ANIEL "URNHAM 7ILLIAM (OLABIRD 7ILLIAM ,E"ARON *ENNEY

-ARTIN 2OCHE *OHN 2OOT AND ,OUIS 3ULLIVAN 4HE #HICAGO 3CHOOL OF %THNOGRAPHY SOMETIMES CALLED THE #HICAGO 3CHOOL OF 3OCIOLOGY WAS A GROUP OF PROFESSORS AT *OHN 2OCKEFELLER S 5NIVERSITY OF #HICAGO FROM S 4HESE PIONEERS OF SOCIAL AND URBAN THOUGHT DECIPHERED THE ECOLOGICAL CONDITIONS THAT HAVE PROVED TO BE THE FOUNDATION OF HOW WE IMAGINE SOCIAL LIFE TO WORK n AND MUCH OF HOW WE THINK ABOUT EMPIRICAL SOCIAL RESEARCH 7 ) 4HOMAS AND &LORIAN

:NANIECKI WROTE THE CENTURY S DEl NITIVE SOCIOLOGICAL STUDY n 4HE 0OLISH 0EASANT IN %UROPE AND !MERICA 2OBERT 0ARK AND %RNEST "URGESS 4HE #ITY REMAINS THE DEl NITIVE EMPIRICAL STUDY OF MACROSOCIAL URBAN DYNAMICS .O DOUBT NUMEROUS THEORIES COULD BE m OATED AS TO WHY BOTH ARRIVE ON THE HISTORICAL STAGE IN QUICK SUCCESSION IN THE SAME PLACE WHAT QUALITIES THEY SHARED AND HOW THEY MIGHT HAVE IMPACTED ONE ANOTHER )NSTEAD WE WANT TO IMAGINE WHAT MIGHT HAVE HAPPENED IF THEY HADN T BOTH FALTERED INTO THEIR OWN IDIOSYNCRATIC PROFESSIONAL DIALOGUES 7HAT WOULD WE THINK ABOUT URBANISM IN #HICAGO HAD THE #HICAGO 3CHOOL NOT DEVOLVED INTO THE STUDENTS OF 7RIGHT VERSUS THE STUDENTS OF 6AN DER 2OHE )F THE CHALLENGE LAID DOWN IN 0ARK AND "URGESS 4HE #ITY HAD CARRIED ON TO ANOTHER GENERATION OF SOCIOLOGISTS 7HAT WOULD WE KNOW !ND HOW WOULD WE TEACH IT !T THE END OF THE DAY THIS BOOK IS ABOUT THOSE THREE IDEAS CONTINUING IN THE #HICAGO TRADITION n EDUCATION

DESIGN AND ETHNOGRAPHY !ND WHAT CHARACTERIZED BOTH OF THESE #HICAGO 3CHOOLS AND INDEED MOST GREAT INTELLECTUAL AND CULTURAL MOVEMENTS WAS HOW WELL THEY WORKED TOGETHER 4HE MEMBER OF ANY OF THESE THREE AREAS OF WORK PRACTICE DURING THE MID ST CENTURY WILL HAVE RATHER

DIFFERENT ABILITIES THAN HER PREDECESSOR A HALF CENTURY AGO .EW INFORMATION TECHNOLOGIES ARE BEGINNING TO MAKE THE GATHERING AND ANALYSIS OF DATA POSSIBLE AT SCALES AND IN WAYS PREVIOUSLY ONLY FANTASIZED ABOUT )NTERDISCIPLINARY DIALOGUES BRING TO THE FORE A BEVY OF RESEARCH DIRECTIONS AND DEMAND PRACTITIONERS WHO CAN WORK COLLABORATIVELY WITH MANY KINDS OF DISCIPLINES 0ERHAPS MOST IMPORTANTLY INDIVIDUAL SCHOLARS n AS THEY BECOME NARROWLY SPECIALIZED n HAVE TO DEVELOP POWERS OF INQUIRY THAT WILL ENGENDER CREATIVE ENGAGEMENT WITH EVER MORE RICH RESEARCH HISTORIES IF THEY ARE TO OVERCOME DISCIPLINARY MOMENTUM TO PRODUCE NEW KNOWLEDGE !T THE SAME TIME EDUCATIONAL REFORMS OVER THE PAST QUARTER CENTURY DRIVEN BY IMAGINATIVE RESPONSES TO SUCH CHANGES HAVE ENCOURAGED CONSIDERABLE EXPERIMENTATION WITH THE DESIGN OF EDUCATIONAL PROGRAMS /F THESE EXPERIMENTS THE TURN TO hPROBLEM BASED LEARNINGv ESPECIALLY IN PROFESSIONAL SCHOOLS HAS BEEN THE MOST DEEPLY PRODUCTIVE n STUDENTS LEARN THE TRAITS OF A PROFESSION l RST BY THE EXPOSURE TO SIMULATED PRACTICE MOTIVATING THEM BEST TO TRULY ENGAGE THE FOUNDATIONAL KNOWLEDGE OF THEIR CHOSEN PROFESSION "UT THE EDUCATIONAL PREPARATION OF THE LEADERS OF A PROFESSION CANNOT BE FOR THE SAKE OF MERE PRACTICE ALONE THEY MUST ALSO DEVELOP THE ABILITY TO ENGAGE AND MAKE THEIR OWN THE WEALTH OF NEW POSSIBILITIES 4HE ATTEMPT TO ENGINEER CURRICULA IN THE MORE RESTRICTIVE ENVIRONMENT OF TECHNOLOGY ENHANCED LEARNING HAS OFTEN BEEN IN PART SIDE TRACKED BY THE DEMANDS OF THE TECHNOLOGY ITSELF STUDENTS AND EDUCATORS ALIKE FOCUS CONSIDERABLE EFFORT ON

DEVELOPING TECHNICAL EXPERTISE 4HIS IS TO BE DESIRED IN A PARTICULAR WAY FOR SOCIOLOGISTS n EXPERTISE IN STATISTICAL MANIPULATION AS WELL AS A BUDDING INTEREST IN SIMULATION AND MODELING IS AT THE HEART OF THE DISCIPLINE 4ECHNOLOGY HAS ALSO LED TO AN INTEREST MOTIVATED IN A LARGE PART BY ETHNOGRAPHERS IN hCOGNITIVE APPRENTICESHIP v THE DESIGN OF PROBLEM BASED LEARNING EXPERIENCES THAT EXPLICITLY ENCOURAGE THE DEVELOPMENT OF PARTICULAR KINDS OF MENTAL ABILITIES 9ET THE EFFORTS OF SUCH EDUCATORS WHILE WILDLY SUCCESSFUL IN SMALL COMPONENTS HAVE INVARIABLY FOUNDERED FOR LACK OF A SHARED SENSE BETWEEN SMALL EFFORTS AS TO WHICH ABILITIES TO ENGENDER AND TO WHAT END 4HE PROBLEMATICS OF THIS WILL BE ALL TOO FAMILIAR TO ANYONE WHO HAS ATTEMPTED TO MAKE SENSE OF THE RELATIONSHIP BETWEEN EMERGING TECHNOSCIENCE AND INSTITUTIONAL CHANGE %DUCATIONAL TECHNOLOGY HAS DONE ALMOST NOTHING TO CHANGE THE SHAPE OF EDUCATION 9ET THE PROMOTERS OF EDUCATIONAL TECHNOLOGY CONTINUE TO CLAIM THAT AT SOME POINT INFORMATION TECHNOLOGIES WILL REVOLUTIONIZE EDUCATION )F ONLY THEY WOULD WORK TOGETHER LIKE THE PARTICIPANTS IN THE #HICAGO 3CHOOLS

4HEORY /BJECTS "OURDIEU MAY HAVE BEEN CORRECT THAT hIN THE ACT OF LIVING EVERYDAY LIFE WE MUST MOVE FORWARD WITHOUT REFERENCE TO THE WAY IN WHICH hEVERYTHING PROCEEDS AS IF v BUT MAKING SENSE OF THE MANNER IN WHICH THOSE THINGS PROCEED IS A NECESSARY COMPONENT NOT JUST TO THE STUDY OF SOCIAL LIFE BUT ALSO TO THE MANNER IN WHICH THAT LIFE CONTINUES TO BE IMPROVED 4HE RELATIONSHIP BETWEEN STRUCTURE AND MEANING IS A TOPIC HEAVILY INVESTIGATED THROUGHOUT PHILOSOPHY

RELIGION AND EVEN LINGUISTICS #REATIVITY MIGHT BE FOUND WITHIN THE STUDY OF THE RELATIONSHIP BETWEEN SYNTAX AND SEMANTICS 4HIS RELATIONSHIP IS CHANGING RAPIDLY IN A DIGITIZED hCOPY PASTEv WORLD WHERE EMERGING TRENDS IN THE WEB ARE SHOWING HOW USERS MAY BE GIVEN GREATER CONTROL OVER THEIR OWN DATA

WHERE CONTENT IS MEANT TO BE hREMIXEDv AND WHERE PARTICIPATION AND THE hWISDOM OF CROWDSv HAS GAINED NEW ATTENTION $O BUILDINGS TAKE THESE KIND OF INTERDISCIPLINARY INSIGHTS ABOUT PEOPLE INTERACT WITH THEIR ENVIRONMENT INTO ACCOUNT 7ORK REQUIRES COMMUTES #ORRESPONDENCE OCCURS AT A DISTANCE IN THE WEB BROWSER NOT A l XED MAILBOX *OBS AND HOMES MAY EASILY CHANGE EVERY YEARS 4WO CLOSELY CONNECTED CITIES ARE MORE EASILY DETERMINED

BY SIMILARITIES IN CULTURE AND SIZE FOR EXAMPLE A MAP OF REPUBLICAN DEMOCRATIC VOTES ILLUSTRATES AN hURBAN ARCHIPELAGOv THEN BY THE AMOUNT OF TRAVEL REQUIRES OR RESTRICTIONS OF GEOGRAPHY

7HILE ETHICS HAS A PLACE IN ARCHITECTURE SUBJECTS LIKE SOCIOLOGY AND INFORMATION ARCHITECTURE ARE EQUALLY AS CRITICAL !LL OF THESE l NE DISTINCTIONS BEGIN TO BREAK DOWN IMMEDIATELY WHEN WE BEGIN TO THINK OF OBJECTS IN THE WORLD HOWEVER n THEY ARE MESSY AND COMPLEX AND SO MANY OTHER THINGS THAN CLEAR l N DISTINCTIONS (ERE S THE CATCH THOUGH n THESE PROPERTIES APPLY TO ALL THINGS WHEREVER THEY ARE 4HUS OBJECTS ARE ALL ALREADY THEORIZED !ND LIKE EVERY OTHER TOPIC WE HAVE DISCUSSED THE INVERSE IS ALSO TRUE n EVERY FORM OF THEORY EVERY hISM v IS AN OBJECT IN THE WORLD n IT JUST HAPPENS TO BE A THEORY OBJECT

,ETTER FROM 3ELENA $EAR 3TUDENTS ,ET ME l RST SAY NEVER STOP LEARNING OR HAVING FUN 9OU MUST NOT FORGET THAT JUST BECAUSE YOU ARE IN SCHOOL YOU ARE LEARNING OR SINCE YOU ARE IN SCHOOL YOU CANNOT HAVE FUN 1UITE THE OPPOSITE IS TRUE IT IS YOUR DAILY LIFE EXPERIENCES THAT SHAPE THE PERSON YOU ARE AND THE TYPE OF STUDENT YOU CHOOSE TO BECOME $O NOT DREAD SCHOOL OR IF YOU DO DO IT OUT OF A PASSION FOR A NEED TO LEARN MORE !S STUDENTS YOU ARE AT THE VERGE OF A CHALLENGING YET BEAUTIFUL EXPERIENCE OF EXPLORATION THAT CAN LEAD YOU DOWN ANY PATH YOU CHOOSE 7HILE YOU ARE IN SCHOOL YOU MUST KEEP IN MIND THAT NO MATTER WHAT SCHOOL YOU ARE IN

YOU MUST PUT IN WHAT YOU WANT TO GET OUT OF YOUR EDUCATION 'ROWING UP IN THE CITY OF #HICAGO ) AM THE PRODUCT OF BOTH A PUBLIC AND PRIVATE SCHOOL EDUCATION ) HAVE RECENTLY COME TO THE REALIZATION THAT THE PATH THAT ) HAVE CHOSEN FOR MYSELF LED ME TO BECOME A LIFELONG LEARNER !S A l RST GENERATION COLLEGE STUDENT ) UNDERSTAND THE DIFl CULTIES ONE FACES AS A STUDENT WHEN THEY CANNOT ALWAYS DEPEND ON A PARENT SIBLING

OR COUSIN TO ASSIST YOU WITH YOUR HOMEWORK OR UNDERSTAND THE LONG AND RIGOROUS HOURS THAT SCHOOLWORK AND EXTRACURRICULAR ACTIVITIES DEMAND 4HROUGH THESE FRUSTRATIONS ) FOUND THAT THE BEST LESSONS ) LEARNED WERE NOT NECESSARILY IN THE CLASSROOM BUT OUTSIDE OF THE CLASSROOM IN THE WAY ) CHOSE TO TACKLE THE CHALLENGE OF

STAYING IN SCHOOL WHEN MY PEERS WERE NOT AND UNDERSTANDING WHY 3TAYING INVOLVED IN SPORTS AND OTHER EXTRACURRICULAR ACTIVITIES THAT EXPOSED ME TO TEAMWORK AND DEDICATION KEPT ME MORE PREPARED AND FOCUSED FOR MY CLASSES 0LEASE DON T FORGET TO HAVE FUN )T IS A COMMON MISCONCEPTION THAT SCHOOL HAS TO BE ABOUT ALL WORK AND NO PLAY 4HIS DOES NOT HAVE TO BE TRUE 7HEN YOU l ND YOURSELF BECOMING DISCONTENT WITH YOUR DAILY ROUTINE MIX IT UP A BIT JOIN A CLUB OR SPORT READ A BOOK YOU LIKE l ND A POSITIVE OUTLET FOR ANY NEGATIVE FRUSTRATIONS YOU MAY HAVE &OR A PERIOD OF TIME ) LET MY WEAKNESS THE DREADED hMATH AND SCIENCEv TAKE OVER AND ALLOWED MY LESS THAN INm UENTIAL TEACHERS OF A GIVEN YEAR SEEP INTO THE WAY ) FELT ABOUT MYSELF AND MADE ME QUESTION MY OWN INTELLIGENCE 4HIS DID NOT LAST FOREVER AND AFTER ONE INm UENTIAL TEACHER MY SENSES AND SELF ESTEEM WERE RESTORED 4HAT PARTICULAR PERIOD OF MY EDUCATION TAUGHT ME THAT ) WAS THE ONLY ONE RESPONSIBLE FOR MY EDUCATION AND PERFORMANCE AND TO NEVER LET A BAD TEACHER OR AN INSECURITY AFFECT MY EDUCATION AGAIN 7HILE WE ARE ALL DIFFERENT ) UNDERSTAND THAT MY APPROACH TO LEARNING AND MY OUTLOOK ON LIFE IS ALL MY OWN BUT ) WOULD LIKE TO SHARE AT LEAST A LITTLE BIT OF MY EXPERIENCES WITH YOU TO LET YOU KNOW THAT WHILE ) ADMIT THAT ) DO NOT COMPLETELY UNDERSTAND THE DIFl CULTIES YOU FACE AS AN INDIVIDUAL BUT ) DO UNDERSTAND THE FRUSTRATIONS OF BEING A STUDENT FROM A DISADVANTAGED FAMILY BACKGROUND AND A l RST GENERATION COLLEGE STUDENT

AMONGST OTHER THINGS ) WANT YOU TO KNOW THAT YOUR STRUGGLES ARE THE THINGS THAT BEST PREPARE YOU IN LIFE AND MAKE YOU WHO YOU ARE AND HELP YOU COME TO UNDERSTAND WHO YOU WANT TO BE $O NOT BECOME LIMITED BY YOUR LIMITATIONS $O NOT BECOME ANOTHER STATISTIC 9OUR EDUCATION AND YOUR FUTURE ARE THE PRODUCTS OF THE BEAUTY OF YOUR INDIVIDUALITY SO DON T BE AFRAID TO TRANSCEND YOUR BOUNDARIES WHILE HAVING FUN IN THE PROCESS

Ê7>ÞÊÌ Ê >L À>Ìi

(ACKING ! LOUSY JOB A STUBBORN ANIMAL A COMPUTER CRIMINAL 3OMETHING DONE HALFWAY /R AN IDEA HALF UNDERSTOOD 3INCE ITS l RST USE IN AN ELITE COMMUNITY TO PRAISE THE EFFORTS OF SELECT INDIVIDUALS AS ABOVE AND BEYOND THE BEST h(ACKERv HAS COME TO BE THE HIGHEST PRAISE GIVEN TO ELITE PROGRAMMERS 7HILE ORIGINALLY NOT EXCLUSIVE TO COMPUTER PROGRAMMERS SOME RUMORS CLAIM THAT THE MODEL TRAIN CLUB AT -)4 WAS CALLED hHACKERSv IN THE S AND S THIS TERM GREW INTO COMMON USAGE OUT OF THE ARTIl CIAL INTELLIGENCE COMMUNITY SO IT IS NOT SURPRISING THAT IT IS USED IN REFERENCE TO THE MOST CAPABLE OF COMPUTER PROGRAMMERS /VER THE YEARS HOWEVER THE TERM MORE COMMONLY REFERS TO INDIVIDUALS WHO USE COMPUTER NETWORKS TO ILLEGAL ENDS A PRACTICE THAT CAN HAVE ENORMOUS IMPACT ON WORK AND THE WORLD 4HOSE INDIVIDUALS WHO SEE THE TERM HACKER IN ITS ORIGINAL MORE POSITIVE SENSE HAVE SPENT A CONSIDERABLE AMOUNT OF TIME ARGUING AGAINST THIS PEJORATIVE USE ADMITTEDLY OFTEN TO NO AVAIL 4HE PROBLEM OF COMPUTER CRIMINALS HAS A MUCH GREATER GRIP ON PUBLIC DIALOGUE AND SUBSEQUENTLY ON WHAT MOST PEOPLE UNDERSTAND HACKER TO MEAN &OR THE MOST PART A HACKER HAS PRODUCED SOME SIGNIl CANT PIECE OF SOFTWARE ALTHOUGH THIS IS NOT QUITE A STRICT REQUIREMENT 0ERHAPS NOT COINCIDENTALLY THE VAST MAJORITY OF WELL KNOWN HACKERS HAVE AT SOME TIME HAD A RELATIONSHIP WITH -)4 AS AN UNDERGRADUATE

GRADUATE STUDENT EMPLOYEE OR PROFESSOR ,ESS FREQUENTLY INDIVIDUALS ASSOCIATED WITH OTHER

UNIVERSITIES KNOWN FOR THEIR EXPERTISE IN COMPUTER PROGRAMMING WILL BE REFERRED TO AS HACKERS AND THE FARTHER ONE MOVES FROM THESE ELITE INSTITUTIONS THE LESS LIKELY IT IS THAT THE POSITIVE SENSE OF HACKER IS APPLIED

OR EVEN UNDERSTOOD )T REMAINS QUITE POSSIBLE TO MEET INDIVIDUALS WITH THE REQUISITE SKILLS AND EXPERIENCE WHO NOT ONLY HAVE NEVER FANCIED THEMSELVES HACKERS BUT HAVE NEVER UNDERSTOOD IT TO MEAN ANYTHING OTHER THAN A CRIMINAL 4HE MAJORITY OF WRITING THAT HAS BEEN DONE ON THE HACKER CONCEPT FOCUSES HEAVILY ON THE DUAL MEANING

OCCASIONALLY ARGUING THAT CRIMINAL HACKERS ARE BETTER UNDERSTOOD AS A KIND OF HACKER ENGAGED IN SOCIAL CRITICISM AND THAT THE FACT THAT THEIR ACTIONS ARE ILLEGAL IS OF SECONDARY IMPORTANCE TO THEM )N ORDER TO MAKE THE CASE COMPUTING HAS TO BE CONSTRUCTED AS AN INTERVENTION IN THE SOCIAL WORLD A CONSCIOUS ONE AND GENERALLY ONE THAT HAS SOME FORM OF POLITICAL MOTIVATION ALBEIT ONE MOST PEOPLE WOULD NOT NECESSARILY RECOGNIZE AS POLITICAL 4HE PERSISTENCE WITH WHICH HACKERS STRUGGLE AGAINST THESE PEJORATIVE OR ALTERNATIVE USES OF THE TERM STRIKES US AS A PECULIARLY KIND OF BOUNDARY WORK OR THE ATTEMPT BY A GROUP TO REIFY ITS SHARED SENSE OF IDENTITY

BY EXCLUDING CERTAIN UNDERSTANDINGS OF IDENTIl CATION WITH THE GROUP 7HAT MAKES US CURIOUS ABOUT THE HACKER PHENOMENA IS THE PRESENCE AND PERSISTENCE OF THIS BOUNDARY WORK AND THE COMMENT IT MAKES ABOUT THE DIFl CULTY OF IDENTIFYING CAPABLE COMPUTER PROGRAMMERS

)T WOULD BE A MISTAKE HOWEVER TO CONSIDER HACKERS JUST AS HIGHLY SKILLED PROGRAMMERS FROM -)4 4HE HACKER STYLE LIKE PUNK ROCK IS A SIGNIl CANT PART OF BELONGING "EYOND THE STEREOTYPICAL GEEK QUALIl CATIONS HACKERS ARE EXPECTED TO PERFORM AS SORT OF GENTLEMAN PROGRAMMERS WHICH IS TO SAY THEY ARE EXPECTED TO HAVE A WIDE KNOWLEDGE OF ART CULTURE

LAW SCIENCE PHILOSOPHY ETC 4HIS EXPECTATION EMERGES IN THEIR CONVERSATIONAL HABITS ONE IS EXPECTED TO MAKE REFERENCE TO OTHER FORMS OF KNOWLEDGE AS IF THE AUDIENCE ALREADY KNEW WHAT ONE WAS TALKING ABOUT

AND ONE S AUDIENCE IS SUPPOSED TO BEHAVE AS IF THEY KNOW EXACTLY WHAT ONE IS TALKING ABOUT 4HIS CAN BE QUITE FRUSTRATING TO OUTSIDERS ESPECIALLY OUTSIDERS TRAINED IN OTHER DISCIPLINES BECAUSE A HACKER WILL ROUTINELY ACT AS IF THEY KNOW SOMETHING THAT THEY ACTUALLY KNOW NOTHING ABOUT 4HIS IS A NECESSARY RISK IN MULTIDISCIPLINARY WORK COMMUNICATION ACROSS DISCIPLINARY BOUNDARIES CAN BE DIFl CULT "UT THE PHENOMENA EXTENDS BEYOND RESEARCH COMMUNITIES INTO THE FARTHEST REACHES OF WORK WHEREVER SPECIALISTS COLLABORATE WITH OTHER SPECIALIZED FORMS OF KNOWLEDGE TO PRODUCE THINGS THE THINGS REGULARLY RISK FAILURE BECAUSE THEY CANNOT PERFORM THE TASK CORRECTLY FROM SOME OTHER EXPERT S POINT OF VIEW $ISCUSSING THE SOCIAL DIMENSIONS OF HACKING THE OBVIOUS THEORY HAS BEEN ADVANCED THAT THE COMPUTER IS PERHAPS BETTER THOUGHT OF AS A SYMBOLING MACHINE

NOT AS A CALCULATING MACHINE "OTH OF THESE IDEAS ARE EQUALLY FALSE ! COMPUTER IS AS CAPABLE OF SIMULATING SEMIOTIC ACTIVITY AS IT IS CAPABLE OF SIMULATING MATHEMATICS BUT IT MUST BE CLEARLY UNDERSTOOD THAT

IT IS IN ACTUALITY NEITHER OF THESE THINGS n IT IS A SIMULATOR "ROADENING A DEl NITION MAKES WORK MORE INCLUSIVE n IT OPENS UP THE SPACE FOR MULTIDISCIPLINARY COLLABORATION "UT BEING IMPRECISE ABOUT WHAT AN IDEA REALLY MEANS INCREASES THE LIKELIHOOD THAT SUCH AN EXPERIMENT FAILS 7E CAN SPEAK SIMILARLY ABOUT HACKS n BY ABANDONING THE ILLUSION THAT THEY ARE ABOUT COMPUTERS (ACKS ARE USING THINGS IN AN EXPECTED WAY n BECAUSE YOU NEED TO OR JUST BECAUSE YOU CAN 3OME OF THOSE BRIGHT IDEAS ARE JUST BEAUTIFULLY ABSURD LIKE THE GUY WHO RODE EVERY TRAIN IN THE .EW 9ORK #ITY SUBWAY SYSTEM ONCE IN EACH DIRECTION BETWEEN EACH STOP n JUST BECAUSE IT COULD BE DONE AND SOME OF THEM CHANGE THE WORLD LIKE ,INUX OR THE 'ENERIC 0UBLIC ,ICENSE BECAUSE IT HAS TO BE FREE 7HAT CAN YOU HACK

7ORKING 4OGETHER 7ORK CAN MEAN AT LEAST FOUR DIFFERENT THINGS /N THE ONE HAND IT CAN MEAN THE KIND OF THINGS THAT WE DO IN ORDER TO SUSTAIN OUR LIFESTYLE BY EARNING AN INCOME )T CAN ALSO MEAN MAKING THINGS OR DOING TASKS THAT

WHILE NOT GENERATING INCOME IMPROVE OUR QUALITY OF LIFE n COOKING KEEPING THE HOUSE ETC )T CAN ALSO MEAN DOING WORK THAT DOES NOT BENEl T ONESELF DIRECTLY

BUT RATHER IMPROVES THE WORLD FOR OTHERS n DOING h'OODv WORKS &INALLY IT CAN MEAN DOING THINGS THAT FUNDAMENTALLY CHANGE WHO A PERSON IS n LIKE GETTING AN EDUCATION /F COURSE THESE CATEGORIES NEED NOT BE SEPARATE "UT AS WE CONSIDER THE HOW TO WORK TOGETHER WE WANT TO BROADEN THE DEl NITION n BUT BE VERY PRECISE ABOUT IT 4HEN OUR UNDERSTANDINGS CAN BEGIN TO SHIFT TOGETHER #ONSIDER FOR A MOMENT THE PRESENT STATE OF THE 5 3 ECONOMY WHICH HAS ONLY THREE PERCENT OF ITS ECONOMY INVOLVED IN THE PRODUCTION AND DISTRIBUTION OF GOODS n A SIGNIl CANT CHANGE FROM THE ROUGHLY EIGHTY PERCENT A CENTURY AGO 4HE REMAINDER OF ITS FORMAL WORKFORCE IS INVOLVED IN TASKS WHICH ECONOMISTS DESCRIBE AS hVALUE ADDEDv ACTIVITIES n THINGS WHICH ALTER THE EXCHANGE VALUE OF A GOOD WITHOUT ALTERING THE GOOD ITSELF ! SIMILAR BALANCE EXISTS WITHIN MOST OF THE l RST WORLD

AND HAS HAD A CONSIDERABLE IMPACT ON THE NATURE OF WORK AS IT HAS GROWN OVER THE PAST CENTURY %DUCATION HAS SHIFTED FROM PREPARING INDIVIDUALS TO BE EFFECTIVE CITIZENS IN A CIVIC SENSE TO BEING CAPABLE OF PRODUCING ECONOMIC SURPLUS 4HE VAGARIES OF CAREERS IN SUCH AN

ECONOMY REQUIRE NEW NORMS FOR HOW AN INDIVIDUAL PLANS HER CAREER !S 2ICHARD 3ENNETT WRITES

h4HE MOST TANGIBLE SIGN OF CHANGE MIGHT BE THE MOTTO @.O LONG TERM )N WORK THE TRADITIONAL CAREER PROGRESSING STEP BY STEP THROUGH THE CORRIDORS OF ONE OR TWO INSTITUTIONS IS WITHERING SO IS THE DEPLOYMENT OF A SINGLE SET OF SKILLS THROUGH THE COURSE OF A WORKING LIFE 4ODAY A YOUNG !MERICAN WITH AT LEAST TWO YEARS OF COLLEGE CAN EXPECT TO CHANGE JOBS AT LEAST ELEVEN TIMES IN THE COURSE OF WORKING AND CHANGE HIS OR HER SKILL BASE AT LEAST THREE TIMES DURING THOSE FORTY YEARS OF LABOR ´ .OTIONS OF FAMILY PROFESSION AND LIFE COURSE HAVE ALL BEEN SHIFTING TO FOLLOW SUIT n CONSIDER THE DROP IN THE AVERAGE FAMILY BIRTH RATE FROM CHILDREN PER COUPLE SURVIVING TO ENTER THE WORKFORCE IN TO CHILDREN TODAY -ORE IMPORTANT HOWEVER WILL BE THE IMPACTS OF GLOBALIZATION ON SUCH ECONOMIES 7HILE TODAY THE 53 IS THE SINGLE LARGEST l RST WORLD ECONOMY

THE %UROPEAN 5NION IS CATCHING UP n AND CERTAIN THIRD WORLD ECONOMIES IN NATIONS WITH MUCH LARGER POPULATIONS APPEAR TO BE GROWING MUCH MORE RAPIDLY THAN WE ARE PREPARED FOR *EFFERY 3ACHS OBSERVES THAT THE ONCE A NATION DEVELOPS A SWEATSHOP ECONOMY IT FREQUENTLY TAKES LESS THAN TWO GENERATIONS TO BUILD THE INFRASTRUCTURE NECESSARY TO COMPETE IN l RST WORLD ECONOMIES 7HAT WILL HAPPEN WHEN #HINA ONLY NEEDS THREE PERCENT OF ITS PRODUCTIVE CAPACITY TO PROVIDE THE MEANS OF SUSTAINING A l RST WORLD STANDARD OF LIVING

'LOBALIZATION IS ANOTHER AREA WHERE WE CAN BROADEN THE DEl NITION BUT NEED TO BE PRECISE )F THERE IS CONSENSUS ABOUT GLOBALIZATION IT IS THAT A SIGNIl CANT CHANGE HAS OCCURRED OR IS OCCURRING -OST NORMALLY

THE HYPOTHESIS IS THAT FREE MARKET ECONOMIES AND OPEN ACCESS ACROSS BORDERS TO THOSE ECONOMIES HAS OR WILL BRING INDIVIDUALS FROM THE FURTHEST CORNERS OF THE GLOBE TOGETHER )MPROVED COMMUNICATION TECHNOLOGIES OCCASIONALLY RECEIVE SOME OF THE BLAME AS WELL )N ANY CASE WE ALL NOW LIVE IN SOME hGLOBAL VILLAGEv OR ON SOME hm AT WORLD v 4HE WAYS OF DESCRIBING OUR SUDDEN CLOSENESS ARE AS MYRIAD AS THE WAYS IN WHICH THEY CAN BE CHALLENGED &REE MARKET ECONOMIES HAVE BEEN A FACT OF SOCIAL LIFE SINCE THE TH CENTURY OPEN BORDERS FOR EVEN LONGER A SUBSTANTIALLY GREATER PERCENTAGE OF ANY GIVEN POPULATION WAS ENGAGED IN INTERNATIONAL TRAVEL PRIOR TO 7ORLD 7AR ) THAN IS NOW AND THE ESSENCE OF THOSE MASS COMMUNICATION TECHNOLOGIES WERE A FACT OF SOCIAL LIFE SEVERAL DECADES PRIOR TO OUR SUDDEN @DISCOVERY OF GLOBALIZATION 3UCH CHALLENGES PRODUCE MYRIAD HYPOTHESES ABOUT WHAT IS REALLY GOING ON n AND HAVE DONE SO FOR SOME TIME 3OME TECHNOLOGIES PRODUCE hINVISIBLE COLLEGES v ALLOWING LIKE MINDED INDIVIDUALS TO GET TOGETHER DESPITE ENORMOUS GEOGRAPHIC DISTANCE /R PERHAPS THEY ENABLE DISPLACEMENT OF ENTIRE COMMUNITIES AND THE FORMATION OF NEW hGLOCALITIES v $IFFERENT WAYS OF DESCRIBING THESE SAME PHENOMENA ARE CENTURIES OLD IT WAS !DAM 3MITH AFTER ALL WHO DREW l RST ATTENTION TO FREE MARKETS AND +ARL -ARX CLAIMED THAT OPEN BORDERS

WOULD BE ONE OF THE HORSEMEN OF THE REVOLUTION

SINGING ON HIS WAY &REE BEER FOR ALL THE WORKERS WHEN THE RED REVOLUTION COMES )N HACKER SLANG THE PHRASE hFREE AS IN BEERv IS USED TO DISTINGUISH THAT WHICH IS 'RATIS FROM THAT WHICH IS ,IBRÏ OR hFREE AS IN SPEECH v 4HE POINT OF THE FORMER IS GIVING AWAY A THING ONE WHICH CAN ONLY BE USED ONCE WHEREAS THE LATTER IS A STATE OF BEING 3O WHICH FREE IS A @FREE MARKET WHICH IS @)RAQI &REEDOM AND WHICH FREE IS GLOBALIZATION !NY OF THE FORMS OF CHANGE THAT ARE ASSOCIATED WITH GLOBALIZATION ARE CONTESTABLE OR AT LEAST MAY BE CHARACTERIZED IN SOME OTHER MANNER 9ET GLOBALIZATION AS A SIGNIl CANT PHENOMENON OF THE CONTEMPORARY MOMENT IS CLEARLY WORTH PAYING ATTENTION TO EVEN IF IT ISN T EXACTLY A SOCIAL FACT )N FACT IT l TS THE DEl NITION OF AN EMERGENT PHENOMENON n OUT OF NOTHING

SOMETHING )T WOULD SEEM THEN THAT ONE OUGHT TO EXAMINE GLOBALIZATION AS AN EMERGENT PHENOMENON THEN AND NOT A MERE SUM OF FACTORS THAT ONE MIGHT IMAGINE SPARK ITS EMERGENCE &ROM SUCH A POSITION ONE COULD IMAGINE TWO KINDS OF STUDIES OF GLOBALIZATION 'LOBALIZATION AS A CASE STUDY FOR UNDERSTANDING EMERGENCE AND 5NDERSTANDING THE EMERGENT PROPERTIES OF A GLOBALIZED COMMUNITY n I E HOW THEY HAVE CHANGED RATHER THAN WHAT HAS CAUSED THE CHANGE

)N EITHER CASE WE CAN OBSERVE THAT GLOBALIZATION IS NOT MERELY ABOUT SCALE n ABOUT THERE BEING MORE m OWS OF MONEY MORE m OWS OF MIGRATION OF INFORMATION )NSTEAD ATTENTION SHOULD BE PAID TO THE DIFFERENCES CAUSED BY SUCH SCALE CHANGES n NEW SPIRITUALITY THAT IS NOT MERELY SECTARIAN OR CREOLISTIC BUT PLAYFUL AND INVENTIVE 4HE INTERACTIVE CONSUMPTION OF MEDIA THAT INVOLVES IMAGINED NARRATIVES BY CONSUMERS AND THEIR HACKING THE MEDIUM TO INSERT THEIR OWN IMAGINED WORLD h)MAGINATION HAS BECOME A COLLECTIVE SOCIAL FACT 4HIS DEVELOPMENT IN TURN IS THE BASIS OF THE PLURALITY OF IMAGINED WORLDS v 5NDER GLOBALIZATION CREATIVE WORK IS COLLECTIVE n NOT MERELY DOING IT TOGETHER NOR CONSUMING IT TOGETHER

BUT MAKING IT TOGETHER 3O YES WE WORK IN TEAMS

AND YES WE ALL HAVE TO AGREE THAT A SWOOSH MEANS .IKE AND .IKE MEANS PLAYING BASKETBALL LIKE -IKE WHILE MAKING SWEATSHOPS IN THE THIRD WORLD "UT MOST IMPORTANTLY NO ONE OF US OWNS THE POWER TO MAKE CREATIVE WORK HAVE MEANING n WE ALL DO TOGETHER $ESIGN DOESN T ONLY BRING US TOGETHER WE HAVE TO BE TOGETHER TO DESIGN 4HE WORLD IS FULL OF CONTRADICTION HIDDEN MEANINGS OPPOSITIONS TURF WARS RED TAPE FALSE CONSCIOUSNESS AND MISPLACED CONCRETENESS )T IS ONLY BECAUSE WE DESIGN THAT WE GET TO PRETEND THAT THEY ALL MAKE SENSE TOGETHER 4HE PEOPLE YOU HAVE TO WORK WITH AND THE PEOPLE YOU HAVE TO WORK FOR ARE NOT ALWAYS EASY TO GET ALONG WITH 3OME PEOPLE AREN T TEAM PLAYERS 3OME DON T WANT TO GET ALONG WELL WITH OTHERS

(ELP THEM SEE HOW TO (ACK THEIR WORLD )NVITE THEM TO IMAGINE WITH YOU %VERYTHING GOOD IN THE WORLD BEGINS WITH EMPATHY !ND FROM THAT ONE BEGINNING MULTIPLE PATHS GROW AND UNEXPECTED TURNS BUT NO REAL ENDINGS 7HAT ) AM RESPONSIBLE FOR ) PASS ALONG 7HAT YOU ARE RESPONSIBLE FOR YOU WILL AS WELL IN YOUR TURN -IMESIS TO PIECES )N MOST SCHOOLS ALL WE ARE EVER ASKED TO DO IS LISTEN AND REPEAT !ND THOUGH OUR PARTNERS n STUDENTS AND TEACHERS n MAY NOT BE CONSUMERS

THEY DO KNOW QUITE A LOT ABOUT THEIR LIVES "UT LIKE GOOD ANTHROPOLOGISTS

WE VE BEEN LOOKING FOR WHEN THEY HAVE SOMETHING TO SAY BUT ARE WRONG 6ISITING CLASSROOMS TALKING TO EDUCATORS WE WONDERED IF WE COULD MAKE A BIG ENOUGH IMPRESSION ON THE KIDS TO BACK UP OUR TALKxTEACHERS TOLD US hJUST SHOW UPv !N ARCHITECT IN THE CLASSROOM !N ANTHROPOLOGIST AMONG COMPUTER ENGINEERS ! SUPER SIZING SEAMSTRESS 'IVING KIDS A CHANCE TO THINK OUTSIDE THEIR CLASSROOM TO SEE WHAT THE REST OF THEIR CITY IS UP TO )T CAN BE DIFl CULT TO NOT GET EMOTIONAL ABOUT THIS PROCESS )T S HARD WORK COMING HERE EVERY EVENING AND TRYING TO WORK OUT THESE CONTRADICTIONS "UT IT BRINGS US ALL CLOSER REALLY TRYING TO UNDERSTAND WHAT THE IDEAS ACTUALLY ARE n AND HOW THEY REALLY WORK !ND IN THE PROCESS OF DOING THEM NOT ONLY ARE THE IDEAS

TRANSFORMED BUT ALSO WE OURSELVES ARE TRANSFORMED !ND WE HOPE YOU ARE TOO "UT SOMETIMESx h 7E RE CREATING TOOLS FOR SCHOOLSv 3O THE KIDS WILL MAKE THESE 7E RE MAKING THEM FOR YOU TO USE WITH THE KIDS 3O WE PUT THESE TOGETHER 7E RE PUTTING THEM TOGETHER (OW MUCH WILL IT COST )T S FREE n WE RE MAKING THIS STUFF FOR FREE 3O HOW TO WE GET IT 7E RE GOING TO GIVE IT TO YOU n FOR FREE )T S HARD TO EXPLAIN OURSELVES WHEN WE CAN T SAY WHAT WE RE GOING TO END UP GIVING AND HOW WE PLAN ON DOING IT YET WE KNOW SOMETHING S NEEDED &OR &REE FOR SOME REASON NO ONE BELIEVES WE ARE GOING TO DO ALL THE WORK FOR FREE 4EACHERS IN THE #HICAGO 0UBLIC 3CHOOLS ARE GIVEN A STIPEND OF TO SUPPLY THEIR CLASSROOMS EACH YEAR 4HEY USUALLY END UP SPENDING OVER A THOUSAND DOLLARS OF THEIR OWN MONEY 7HY SHOULD TEACHERS HAVE TO PAY TO WORK ) DON T PAY MY BOSS SO ) CAN GO TO WORK IT REALLY DOESN T MAKE SENSE WHEN YOU THINK ABOUT IT 7E SHOULD REALLY BE GIVING AS MUCH AS WE CAN TO OUR TEACHERS AND STUDENTS +IDS LIKE TO MIMIC 7HEN WE VISITED SOME PRESCHOOL CLASSROOMS WITH OUR PROTOTYPE WE ASKED THEM TO LISTEN FOR SOUNDS /NE HEARS A PIANO EVERYONE ELSE HEARS A PIANO "UT THERE WAS NO PIANO 7ELL DON T YOU JUST SAY THAT KIDS LIKE TO MIMIC

4ECHNICALLY MIMICKING SOMETHING IS MIMESIS AND ) LOVE MY -IESES TO PIECES -IES WANTED TO MAKE A BUILDING THAT DISPLAYED IT S SIMPLICITY "UT #HICAGO l RE CODE SAYS YOU CAN T HAVE EXPOSED STEEL 3O HE COVERED EACH MEMBER IN SPRAYED CONCRETE AND THEN IN PAINTED ALUMINUM AND BEING REAL BECOMES AN ILLUSION !ND THEN A STUDENT MAKES A DRAWING WITH A RED PEN AND THE BUILDING n MIMICKING THE MIMICKER WHO MIMICKEDn BECOMES RED !ND THE HISTORIAN TELLS THE STORY AND THE STUDENT PASSES IT ALONG UNTIL NO ONE KNOWS IF IT S REALLY EVEN SORT OF TRUE BUT WE ALL ACT AS IF IT IS ,IKE HEARING A PIANO THAT ISN T THERE h) CALL IT THE MIMETIC FACULTY THE NATURE THAT CULTURE USES TO CREATE SECOND NATURE THE FACULTY TO COPY IMITATE MAKE MODELS EXPLORE DIFFERENCE

YIELD INTO AND BECOME /THER 4HE WONDER OF MIMESIS LIES IN THE COPY DRAWING ON THE CHARACTER AND POWER OF THE ORIGINAL TO THE POINT WHEREBY THE REPRESENTATION MAY EVEN ASSUME THAT CHARACTER AND POWER )N AN OLDER LANGUAGE THIS IS @SYMPATHETIC MAGIC AND ) BELIEVE IT AS NECESSARY TO THE VERY PROCESS OF KNOWING AS IT IS TO THE CONSTRUCTION AND SUBSEQUENT NATURALIZATION OF IDENTITIES "UT IF IT IS A FACULTY IT IS ALSO A HISTORY

AND JUST AS HISTORIES ENTER INTO THE FUNCTIONING OF THE MIMETIC FACULTY SO THE MIMETIC FACULTY ENTERS INTO THOSE HISTORIES .O UNDERSTANDING OF MIMESIS IS WORTHWHILE IF IT LACKS THE MOBILITY TO TRAVERSE THIS TWO WAY STREET x THE FELT RELATION TO THE CIVILIZING PROCESS TO SAVAGERY TO APING v n-ICHAEL 4AUSSIG

,ETTER FROM 3ARAH $EAR -AYOR $ALEY

$ID YOU KNOW THAT TEACHERS ARE SPENDING AN AVERAGE OF A YEAR OUT OF THEIR OWN POCKETS TO SUPPLY THEIR CLASSROOMS /NE TEACHER WE TALKED TO DIDN T HAVE ENOUGH BOOKS FOR EVERY STUDENT IN HIS CLASS SO THE BOOKS CANNOT LEAVE THE CLASSROOMS (E CANNOT ASSIGN THE STATE MANDATED LEARNING MATERIAL FOR HOMEWORK BECAUSE THERE AREN T ENOUGH COPIES OF THE READING TO GO AROUND (OW DOES THAT HAPPEN !NOTHER TEACHER WE TALKED TO HAS FORTY SEVEN SECOND GRADE STUDENTS USING A COMPUTER LAB AS THEIR CLASSROOM 4HESE STUDENTS DON T HAVE DESKS ) DON T THINK ) NEED TO ELABORATE ANY MORE ON THIS SUBJECT ) REALIZE THAT YOU APPOINTED !RNIE $UNCAN SO THAT HE WOULD MAKE l SCALLY CONSERVATIVE CHANGES TO THE EDUCATIONAL INFRASTRUCTURE OF OUR CITY BUT BUDGET CUTS SEEM ILL TIMED WHEN THESE SITUATIONS ARE REALITIES DON T YOU AGREE ) KNOW WHAT YOU ARE THINKING AND YOU ARE RIGHT 4HIS ISSUE IS NOT JUST ABOUT BUDGETS !NOTHER PROBLEM THESE STUDENTS ARE UP AGAINST IS NOT HAVING A SAFE ENVIRONMENT IN WHICH TO GROW AS STUDENTS WITH GOOD STUDY HABITS 7E FOUND TEACHERS WHO HAD DEVISED SECRET WAYS FOR THEIR STUDENTS TO HAND IN HOMEWORK SO THAT NONE OF THE OTHER STUDENTS WOULD SEE !PPARENTLY DOING HOMEWORK IS A SIGN OF WEAKNESS IN SOME OF OUR MOST IMPOVERISHED SCHOOLS AND COMMUNITIES

&OR THE LAST EIGHT MONTHS ) HAVE BEEN ENGAGED IN THE STUDY OF SOCIALLY CONSCIOUS DESIGN AT !RCHEWORKS !RCHEWORKS WAS FOUNDED BY 3TANLEY 4IGERMAN AND %VA -ADDOX TWELVE YEARS AGO AND EACH YEAR THEY CONTINUE TO DRAW ENOUGH STUDENTS TO WORK ON AND EXECUTE THREE PROJECTS /NE PROJECT FOCUSES ON A COMMUNITY ONE WILL BE HEALTH BASED

AND ONE WILL SEEK TO IMPROVE AN AREA OF EDUCATION /UR GROUP IS FOCUSED ON THE SCHOOLS )N ORDER TO BETTER UNDERSTAND WHAT CHANGES WOULD REALLY FOSTER A TURN AROUND IN THESE SCHOOLS ) SOUGHT TO DISCOVER WHAT MAGICAL THINGS WERE HAPPENING IN SCHOOLS THAT ARE SEEING GREAT SUCCESS STORIES FROM THEIR GRADUATES /NE EXAMPLE THAT ) AM SURE COMES TO BOTH OF OUR MINDS IS 7ALTER 0AYTON #OLLEGE 0REP 4HESE STUDENTS ARE PART OF A DIVERSE STUDENT BODY THEY ARE PREPARED FOR THE ACADEMIC RIGORS OF COLLEGE THEY POSSESS STRONG LEADERSHIP SKILLS AND THEY SEEM TO GENUINELY CARE ABOUT THEIR CLASSMATES AND TEACHERS ) KNOW THE OBVIOUS REASON THAT MIGHT COME TO MIND FOR WHY THIS IS POSSIBLE AT 7ALTER 0AYTON IS THAT THESE STUDENTS TESTED IN TO A BRAND NEW SCHOOL WITH EVERY IMAGINABLE RESOURCE AT THEIR DISPOSAL "UT ) AM ASSURED BY THE COLLEGE COUNSELOR THAT THIS IS NOT THE ONLY REASON 4HE SCHOOL ITSELF HAS FOSTERED A SENSE OF COMMUNITY THAT VALUES MENTORING AND PEER TO PEER SUPPORT NETWORKS 4HIS CULTURE IS A PROMINENT PART OF THE SCHOOL S MISSION AND TEACHING STYLE !LMOST ALL OF THEIR CLASSROOM WORK AND PROBLEM SOLVING ACTIVITIES ARE DONE IN GROUPS %VERY STUDENT LEARNS HOW TO CONTRIBUTE TO AND TAKE FROM A DISCUSSION

) BELIEVE YOU WERE INSTRUMENTAL IN MAKING SURE THAT 7ALTER 0AYTON #OLLEGE 0REP BECAME A REALITY .OW THAT IT EXISTS DON T YOU AGREE THAT EVERY STUDENT WITHIN OUR PUBLIC SCHOOL SYSTEM DESERVES TO LEARN FROM WHAT WE NOW KNOW WORKS SO WELL 7HAT KEEPS OTHER SCHOOLS FROM OPERATING AS COMMUNITIES IN AND OF THEMSELVES 7HAT KEEPS THE TEACHERS AND THE ADMINISTRATION FROM BEING ABLE TO COMMUNICATE EFFECTIVELY 7E FOUND THAT EVERY TEACHER IS FRUSTRATED BY THE SEEMINGLY INSURMOUNTABLE HURDLES PLACED IN FRONT OF THEIR ABILITY TO ENSURE THAT EVERY STUDENT IS GIVEN A FAIR CHANCE TO LEARN -OST TEACHERS ATTEST TO SPENDING HUGE PARTS OF THEIR CLASSROOM TIME TEACHING STUDENTS HOW TO TAKE STANDARDIZED TESTS !M ) WRONG IN THINKING THAT THERE IS SOMETHING UNPRODUCTIVE ABOUT A MEASURING DEVICE THAT IS SO DIFl CULT TO ADMINISTER THAT THE TEACHERS HAVE TO SPEND MORE THAN A WEEK CALMING THE KIDS DOWN SO THAT THEY ARE ABLE TO TAKE THE TEST WITHOUT CRYING 7HAT IF A STUDENT IS HAVING A BAD DAY 0ERHAPS CHANGING THEIR LIFE FOREVER BY HOLDING THEM BACK A YEAR ISN T NECESSARILY THE MOST APPROPRIATE COURSE OF ACTION $O ) EXPECT THAT YOU CONTROL THESE FACETS OF OUR PUBLIC SCHOOL SYSTEM .O !ND ) UNDERSTAND THAT OUR SCHOOLS REQUIRE SOME FEDERAL FUNDING SO IGNORING THE .O #HILD ,EFT "EHIND ACT WON T HELP EITHER "UT IF A CITY AS MAJOR AS #HICAGO TOOK A REAL STAND AND FOUND A WAY TO SHOW THIS CURRENT ADMINISTRATION THAT WE ARE NOT IMPROVING WITH THEIR GREAT INCENTIVES PERHAPS THAT WOULD GIVE OTHER STATES A PLATFORM TO FORCE CHANGE

7E STARTED OUR YEAR TRYING TO l GURE OUT HOW TO SAVE MATERIALS FROM LANDl LLS AND TURN THEM INTO SCHOOL SUPPLIES 7E THOUGHT WE WOULD CREATE A FREE STORE FOR TEACHERS SO THAT THEY WOULD NO LONGER HAVE TO SPEND THE MONEY THEY ALREADY DON T HAVE ON SCHOOL SUPPLIES FOR THEIR STUDENTS 4HE SYSTEM NEEDS TO CHANGE )T NEEDS YOUR GREATEST EFFORTS IF ITS STUDENTS STAND A l GHTING A CHANCE

*À }Õi

)F WE HAVE BEEN LED TO THE STUDY OF DESIGN GRADUALLY

IT IS BECAUSE IN THE BEGINNING WE APPROACHED IT FROM MANY DIRECTIONS UNWITTINGLY -ANY OF US STUDY LANGUAGE TRANSLATION CULTURE SYSTEMS MATH OR COGNITIVE SCIENCE 4WO LINGUISTS ,AKOFF AND *OHNSON

PROPOSED THAT A PERSON S CONCEPTUAL WORLDVIEW COULD BE INm UENCED BY DAILY INTERACTION WITH THE PHYSICAL ENVIRONMENT 7E EXPLORED SYSTEMS AND SMALL WORLDS BECAUSE OF MY GRAPH THEORY CLASS 7E LEARNED TO VALUE SIMPLE ECONOMICAL LANGUAGE BECAUSE OF .ICANOR 0ARRA

AN hANTI POETv WHO CELEBRATED EVERYDAY LANGUAGE (OWEVER NO MATTER HOW MUCH ) READ OR OBSERVE IT DOES NOT EQUAL THE HANDS ON EXPERIENCE OF WORKING THROUGH A PROBLEM n TRYING FAILING SUBSTITUTING AND l NALLY SOLVING 4HE MULTIDISCIPLINARY TEAM OUR STRUCTURE AT !RCHEWORKS ALLOW US TO TEST OUR PASSION AND OUR IDEAS $ESIGN EXPLOITS THE WAY WE THINK "UT IT CAN ALSO CHANGE WHO WE ARE IT CAN CHANGE THE COMMUNITY 3MALL DIFFERENCES IN DESIGN WHETHER IN HOUSING PROJECTS CLASSROOMS

OR OFl CES SIGNIl CANTLY CHANGES THE QUALITY OF LIFE OF THE COMMUNITY 4HIS PROGRAM WOULD ALLOW ME THE OPPORTUNITY TO WORK HARD AND MAKE A POSITIVE IMPACT !T THE SAME TIME ) COULD l NALLY STUDY DESIGN IN THE BEST WAY POSSIBLE n BY DESIGNING %ACH OF US CAME TO !RCHEWORKS FOLLOWING DIFFERENT PATHS WITH LARGELY VARIED BACKGROUNDS 7E KNEW THAT ONE OF OUR LARGEST CHALLENGES WOULD NOT ONLY BE TO DESIGN WELL BUT ALSO TO DO IT IN A COLLABORATIVE SETTING AMONG SUCH UNIQUE INDIVIDUALS 3O WEIGHTY A TASK AND ALL OF US SO HOPEFUL WE COULD PULL IT OFF 4HE INCLUSIVE MANTRA QUICKLY SPREAD FROM THE MODEL OF OUR

INTERACTIONS INTO OUR BASIS FOR COLLECTING RESEARCH AND FEEDBACK !S &RED 2OGERS ONCE SAID

h!LL OF US AT SOME TIME OR OTHER NEED HELP 7HETHER WE RE GIVING OR RECEIVING HELP EACH OF US HAS SOMETHING VALUABLE TO BRING TO THIS WORLD 4HAT S ONE OF THE THINGS THAT CONNECTS US AS NEIGHBORS n IN OUR OWN WAY EACH ONE OF US IS A GIVER AND A RECEIVER v 3O WE AGREED TO TAKE ON EDUCATIONAL DESIGN FOR #HICAGO 0UBLIC 3CHOOLS A SYSTEM ONLY ONE OF US HAD EXPERIENCED l RST HAND AND ONE FOR WHICH BUREAUCRACY AND STODGINESS IS LEGENDARY

WITH THE ASSISTANCE OF #RAYONS TO #OMPUTERS A FREE DONATION DISTRIBUTION STORE FOR TEACHERS IN #INCINNATI 7HAT VALUE COULD WE AS DESIGNERS CONTRIBUTE BEYOND THE SYSTEMS THAT ALREADY EXISTED )T WAS A QUESTION WE PONDERED INTENSELY FOR EIGHT MONTHS 4HE RESULT IS ROUGHLY SUMMARIZED WITHIN THIS TEXT 4URNS OUT OUR GUIDANCE WOULD NOT ONLY COME FROM THE WORDS OF -R 2OGERS BUT ALSO FROM THOSE OF "ILL #OSBY h"E CAREFUL YOU MAY LEARN SOMETHING BEFORE IT S DONE v /UR INTENT IS TO COMMUNICATE THE AMAZING EXPERIENCE THAT HAS BEEN !RCHEWORKS FOR US EACH IN OUR OWN VOICES &AIR WARNING IT MAY NOT ALL MAKE SENSE OR SEEM SEQUENTIAL 7HAT DOES 9OU WILL GET A LITTLE HISTORY

SOME THEORY AND SOME REALLY GOOD IDEAS )T IS HERE FOR

YOU TO TAKE WHAT YOU NEED REGARDLESS OF WHAT MIGHT BE VALUABLE TO YOU )T IS OUR LAST EFFORT TOWARD BEING GOOD GIVERS AND RECEIVERS IN -R 2OGER S .EIGHBORHOOD "Y THE END YOU WILL BE IN THE FUTURE OUR FUTURE 4HE EXCITING PLACE WE WERE WHEN WE EXITED THIS INTENSIVE PROGRAM OUR IDEAS JUST BARELY BEGINNING TO REALLY TAKE SHAPE AND KNOWING WE REALLY NEEDED AT LEAST ANOTHER YEAR TO DO IT PROPERLY 7E HOPE AFTER THIS LITERARY JOURNEY YOU WILL SHARE OUR ENTHUSIASM IN PROCLAIMING .OTHING IS UNDOABLE 3AVING THE WORLD IS A VISION "UT SO IS SHOWING UP 9OUNG ACTIVISTS EACH IN OUR OWN WAYS WE HAVE EACH SET OUT TO WRITE OUR THOUGHTS ABOUT THIS PROCESS THIS EXPERIENCE !LAS OUR TIME IS OUT $UAL $ESIGN HAS STOPPED DUALING BECAUSE OUR IDEAS ARE RESOLVING 3O THIS LAST ONE IS UP TO YOU 4AKE THIS BOOK AND THESE MATERIALS AND DESIGN SOMETHING INSPIRING FOR EDUCATION /UR FUTURE DEPENDS ON IT

! LETTER FROM 0AMELA 4O THE MANY 3TUDENTS AND 4EACHERS OF TODAY AND TOMORROW 3TUDENTS ) WANT TO WRITE TO YOU TELL YOU IT IS OKAY FOR YOU TO DRAW YOUR MATH "E PROUD OF YOURSELF THAT YOU ARE DOING SOMETHING DIFFERENT YOU HAVE FOUND ANOTHER WAY OF SOLVING A PROBLEM )T IS OKAY TO STRAY TO EXPLORE TO DO SOMETHING DIFFERENTLY 'ROWING UP AND GOING THROUGH SCHOOL WE WERE OFTEN TAUGHT THAT YOU NEED TO LEARN THE WAY TO GET TO THE ANSWER THAT THERE IS ONE CORRECT WAY YOU NEED TO MASTER IN ORDER TO SUCCEED ) WANT TO TELL YOU TO KNOW YOURSELF AND KNOW YOURSELF WELL 5NDERSTAND THAT YOU ARE EVERY PERSON S EQUAL 7HEN ) WAS IN TH GRADE MY MATH TEACHER TOLD ME ) COULDN T DRAW MY MATH THAT ) WASN T DOING MY SCHOOLWORK ) WAS DEEPLY OFFENDED BEING THE PERFECTIONIST THAT ) WAS AT TEN YEARS OLD THAT ) WAS DOING SOMETHING WRONG ) KNEW DEEP DOWN INSIDE THAT DRAWING AND SKETCHING MY MATH OUT WAS RIGHT FOR ME 7HY DIDN T MY TEACHER KNOW THIS $ID IT REALLY MATTER THAT ) ARRIVED AT THE SAME ANSWER BUT TOOK A DIFFERENT PATH ) STILL THINK ABOUT THAT TEACHER EVEN THOUGH ) AM TWENTY THREE YEARS OLD ) WISH ) HAD BEEN ABLE TO EXPLAIN TO HER WHAT ) AM SAYING TO YOU NOW ) WISH ) COULD HAVE EASILY AND CLEARLY SAID TO HER

hTHIS WORKS FOR ME AND ) STILL GET MY WORK DONE

LET ME DO THIS v

"UT ) WAS ONLY TEN YEARS OLD INSTEAD OF TALKING TO THAT TEACHER ) GOT ANGRY AT -ATH AT TEACHERS

AND AT MYSELF ) WANT YOU TO KNOW THAT WHAT YOU DO WHAT YOU THINK AND WHAT YOU ARE IS AWESOME 4EACHERS ) WANT TO WRITE TO YOU TO WARN YOU ) WANT YOU TO NEVER NEVER TELL A CHILD THEY CAN T THINK FOR THEMSELVES THEY CAN T TRY DOING SOMETHING A DIFFERENT WAY ) WAS TOLD IN MY MATH CLASS IN TH GRADE TWELVE YEARS AGO THAT ) COULDN T hDRAWv MY MATH ) WAS SIMPLY DOING WHAT ) COULD TO SOLVE THE PROBLEM

MINDLESSLY SKETCHING TRYING TO GET MY HEAD AROUND IT 7HEN A TEACHER TELLS YOU hYOU CAN Tv IT REALLY STICKS WITH A CHILD ) AM TWENTY THREE YEARS OLD AND ) STILL HOLD A GRUDGE AGAINST THAT TEACHER ) STILL WISH ) HAD HAD A BIG ENOUGH EGO TO TALK BACK TO HER TO STAND UP AND SAY NO )NSTEAD ) DECIDED THAT ) COULDN T DO MATH AND ) WOULDN T TRY IN HER CLASS ) KNEW ONE HUNDRED PERCENT THAT DRAWING AND SKETCHING HELPED ME WITH MY MATH 7HEN AN ADULT TELLS A CHILD THEY DON T KNOW THEMSELVES IT CAN BREAK THEIR HEART THEIR SPIRIT 4HE FACT THAT ) STILL WANT TO GO BACK AND TALK TO THAT TEACHER TO TELL HER HOW MUCH HER WORDS HER HURT HOW WRONG THEY WERE SHOWS THAT WHAT YOU TEACH US WHETHER GOOD OR BAD WILL REMAIN WITH US FOREVER 0AMELA ,OUISE 3TEINER

"IBLIOGRAPHY !RJUN !PPADURAI -ODERNITY AT ,ARGE #ULTURAL $IMENSIONS OF 'LOBALIZATION 5NIVERSITY OF -INNESOTA 0RESS 2OY "ASHKAR h2EASON AND THE $IALECTIC OF (UMAN %MANCIPATIONv IN #RITICAL 2EALISM %SSENTIAL 2EADINGS 2OUTLEDGE (ERBERT "AYER 7ALTER 'ROPIUS AND )SE 'ROPIUS EDS "AUHAUS 4HE -USEUM OF -ODERN !RT 0IERRE "OURDIEU 4HE ,OGIC OF 0RACTICE 2ICHARD .ICE TRANS 3TANFORD 5NIVERSITY 0RESS *OHN $EWEY 4HE #HILD AND THE #URRICULUM 5NIVERSITY OF #HICAGO 0RESS (UBERT $REYFUS AND 0AUL 2ABINOW -ICHEL &OUCAULT "EYOND 3TRUCTURALISM AND (ERMENEUTICS 5NIVERSITY OF #HICAGO 0RESS $IETRICH $ÚRNER ! ,OGIC OF &AILURE 7HY 4HINGS 'O 7RONG AND 7HAT 7E #AN $O TO -AKE 4HEM 2IGHT -ETROPOLITAN "OOKS 0AUL &EYERBAND !GAINST -ETHOD .EW ,EFT "OOKS

-ICHEL &OUCAULT $ISCIPLINE AND 0UNISH 4HE "IRTH OF THE 0RISON 2ANDOM (OUSE $AVID (AKKEN 4HE +NOWLEDGE ,ANDSCAPES OF #YBERSPACE 2OUTLEDGE -ARTIN (EIDEGGER "EING AND 4IME (ARPER (OWARD 'ARDNER &RAMES OF -IND 4HE 4HEORY OF -ULTIPLE )NTELLIGENCES "ASIC "OOKS 4HOMAS (OBBES ,EVIATHAN # " -AC0HERSON TRANS 0ENGUIN #LASSICS

)MMANUEL +ANT &OUNDATIONS OF THE -ETAPHYSICS OF -ORALS ,EWIS 7HITE "ECK TRANS -ACMILLIAN 'EORGE ,AKOFF AND -ARK *OHNSON -ETAPHORS 7E ,IVE "Y 5NIVERSITY OF #HICAGO 0RESS "RUNO ,ATOUR 7E (AVE .EVER "EEN -ODERN (ARVARD 5NIVERSITY 0RESS ,EONARD +OREN 7ABI 3ABI FOR !RTISTS $ESIGNERS

0OETS 0HILOSOPHERS 3TONE "RIDGE 0RESS $ONALD . ,EVINE 0OWERS OF THE -IND 4HE 2EINVENTION OF ,IBERAL ,EARNING 5NIVERSITY OF G #HICAGO 0RESS %LLEN ,UPTON AND * !BBOTT -ILLER ED 4HE !"#S OF THE "AUHAUS AND $ESIGN 4HEORY 0RINCETON !RCHITECTURAL 0RESS +ARL -ARX #APITAL 6OLUME ! #RITIQUE OF 0OLITICAL %CONOMY 0ENGUIN #LASSICS 2OBERT -ERTON /N 3OCIAL 3TRUCTURE AND 3CIENCE 4HE 5NIVERSITY OF #HICAGO 0RESS 2OBERT 0ARK AND %RNEST "URGESS 4HE #ITY 4HE 5NIVERSITY OF #HICAGO 0RESS *EFFERY $ 3ACHS 4HE %ND OF 0OVERTY %CONOMIC 0OSSIBILITIES FOR /UR 4IME 0ENGUIN 2ICHARD 3ENNETT 4HE #ORROSION OF #HARACTER 7 7 .ORTON 4HOMAS 3PENCE 3MITH 3TRONG )NTERACTION 5NIVERSITY OF #HICAGO 0RESS 4HOMAS 3PENCE 3MITH (YPERSTRUCTURES FORTHCOMING -ARLYN 3TRATHERN !UDIT #ULTURES 2OUTLEDGE #LAUDE ,EVI 3TRAUSS 3TRUCTURAL !NTHROPOLOGY "ASIC "OOKS -ICHAEL 4AUSSIG -IMESIS AND !LTERITY 2OUTLEDGE

7 ) 4HOMAS AND &LORIAN :NANIECKI 4HE 0OLISH 0EASANT IN %UROPE AND !MERICA 5NIVERSITY OF )LLINOIS 0RESS 2OBERT 6ENTURI #OMPLEXITY AND #ONTRADICTION IN !RCHITECTURE -USEUM OF -ODERN !RT 7HITEHEAD !. 3CIENCE AND THE -ODERN 7ORLD &REE 0RESS 7ILLIAM *ULIUS 7ILSON 4HE 4RULY $ISADVANTAGED 4HE )NNER #ITY THE 5NDERCLASS AND 0UBLIC 0OLICY 4HE 5NIVERSITY OF #HICAGO 0RESS 4OM 7OLFE &ROM "AUHAUS TO /UR (OUSE "ANTAM "OOKS , 3 6YGOTSKY (ARVARD 5NIVERSITY 0RESS