"Pedagogical experiments played a crucial role in shaping architectural discourse and practice in the second half of the 20th century. In fact, the key hypothesis of our Radical Pedagogy research project is that these experiments can be understood as radical architectural practices in their own right. Radical in the literal meaning from the Latin radice, as something belonging or relating to the root, to its foundations. Radical pedagogies shake foundations, disturbing assumptions rather than reinforcing and disseminating them. This challenge to normative thinking was a major force in the postwar field of architecture, and has surprisingly been neglected in recent years. ...
Architectural pedagogy has become stale. Schools spin old wheels as if something is happening but so little is going on. Students wait for a sense of activist engagement with a rapidly evolving world but graduate before it happens. The fact that they wait for instruction is already the problem. Teachers likewise worry too much about their place in the institutional hierarchies. Curricular structures have hardly changed in recent decades, despite the major transformations that have taken place with the growth of globalisation, new technologies, and information culture. As schools appear to increasingly favour professionalisation, they seem to drown in self-imposed bureaucratic oversight, suffocating any possibility for the emergence of experimental practices and failures. There are a few attempts to wake things up here and there but it's all so timid in the end. There is no real innovation.
In response to the timidity of schools today, the Radical Pedagogy project returns to the educational experiments of the 1960s and '70s to remind us what can happen when pedagogy takes on risks. It's a provocation and a call to arms."
(Beatriz Colomina with Esther Choi, Ignacio Gonzalez Galan and Anna-Maria Meister, 28 September 2012, The Architectural Review)
1). Radical Pedagogy is an ongoing multi-year collaborative research project by a team of PhD candidates in the School of Architecture at Princeton University, led by Beatriz Colomina and involving seminars, interviews and guest lectures by protagonists and scholars. The project explores a remarkable set of pedagogical experiments of the 1960s and '70s that revolutionised thinking in the discipline. Each student is working on one of these experiments and collectively mapping the interconnections and effects of these experiments towards a major publication and exhibition.
Fig.1 Tournaments in the Course ‘Culture of the Body', at the Valparaíso School, 1975. Courtesy of Archivo Histórico Jose Vial, Escuela Arquitectura y Diseño, Pontificia Universidad Católica de Valparaíso
SEVENTH INTERNATIONAL CONFERENCE ON DESIGN PRINCIPLES AND PRACTICES, Japan
Proposals for In-Person Presentations Due: 6 December 2012
"The International Conference on Design Principles and Practices, its associated design journals, the On Design Book Series and the Design News Blog are sites of discussion which explore the meaning and purpose of design. Participants in these forums also speaking in grounded ways about the task of design and the use of designed artifacts and processes. The Conference, Journal, Book Imprint and News Blog support a cross-disciplinary knowledge community, bringing together researchers, teachers and practitioners to discuss the nature and future of design. The resulting conversations weave between the theoretical and the empirical, research and application, market pragmatics and social idealism.
In professional and disciplinary terms, the conference, journals, book series and online media traverse a broad sweep to construct a transdisciplinary dialogue which encompasses the perspectives and practices of: anthropology, architecture, art, artificial intelligence, business, cognitive science, communication studies, computer science, cultural studies, design studies, education, e-learning, engineering, ergonomics, fashion, graphic design, history, information systems, industrial design, industrial engineering, instructional design, interior design, interaction design, interface design, journalism, landscape architecture, law, linguistics and semiotics, management, media and entertainment, psychology, sociology, software engineering, technical communication, telecommunications, urban planning and visual design – to name some of the design disciplines."
"It's very fundamental to Aboriginal belief that language and land are connected, and it is appropriate to speak the language of the land on which you're residing. So it was quite natural that Murrinh-Patha would have become the primary language of the indigenous people living on the mission."
Fig.2 "Coding cultural riches: Investigating indigenous languages in Australia: Linguist Dr Rachel Nordlinger discusses how Australian Aboriginal languages are researched and how particular indigenous tongues grow at the expense of others as communities migrate. Presented by Jennifer Cook.", Up Close, University of Melbourne.
"For me, it is a cause of some upset that more Anglophones don't enjoy language. Music is enjoyable it seems, so are dance and other, athletic forms of movement. People seem to be able to find sensual and sensuous pleasure in almost anything but words these days. Words, it seems belong to other people, anyone who expresses themselves with originality, delight and verbal freshness is more likely to be mocked, distrusted or disliked than welcomed. The free and happy use of words appears to be considered elitist or pretentious. Sadly, desperately sadly, the only people who seem to bother with language in public today bother with it in quite the wrong way. They write letters to broadcasters and newspapers in which they are rude and haughty about other people's usage and in which they show off their own superior 'knowledge' of how language should be. I hate that, and I particularly hate the fact that so many of these pedants assume that I'm on their side. When asked to join in a 'let's persuade this supermarket chain to get rid of their 'five items or less' sign' I never join in. Yes, I am aware of the technical distinction between 'less' and 'fewer', and between 'uninterested' and 'disinterested' and 'infer' and 'imply', but none of these are of importance to me. 'None of these are of importance,' I wrote there, you'll notice - the old pedantic me would have insisted on 'none of them is of importance'. Well I'm glad to say I've outgrown that silly approach to language. Oscar Wilde, and there have been few greater and more complete lords of language in the past thousand years, once included with a manuscript he was delivering to his publishers a compliment slip in which he had scribbled the injunction: 'I'll leave you to tidy up the woulds and shoulds, wills and shalls, thats and whiches &c.' Which gives us all encouragement to feel less guilty, don't you think?
There are all kinds of pedants around with more time to read and imitate Lynne Truss and John Humphrys than to write poems, love-letters, novels and stories it seems. They whip out their Sharpies and take away and add apostrophes from public signs, shake their heads at prepositions which end sentences and mutter at split infinitives and misspellings, but do they bubble and froth and slobber and cream with joy at language? Do they ever let the tripping of the tips of their tongues against the tops of their teeth transport them to giddy euphoric bliss? Do they ever yoke impossible words together for the sound-sex of it? Do they use language to seduce, charm, excite, please, affirm and tickle those they talk to? Do they? I doubt it. They're too farting busy sneering at a greengrocer's less than perfect use of the apostrophe. Well sod them to Hades. They think they're guardians of language. They're no more guardians of language than the Kennel Club is the guardian of dogkind.
The worst of this sorry bunch of semi-educated losers are those who seem to glory in being irritated by nouns becoming verbs. How dense and deaf to language development do you have to be? If you don't like nouns becoming verbs, then for heaven's sake avoid Shakespeare who made a doing-word out of a thing-word every chance he got. He TABLED the motion and CHAIRED the meeting in which nouns were made verbs. New examples from our time might take some getting used to: 'He actioned it that day' for instance might strike some as a verbing too far, but we have been sanctioning, envisioning, propositioning and stationing for a long time, so why not 'action'? 'Because it's ugly,' whinge the pedants. It's only ugly because it's new and you don't like it. Ugly in the way Picasso, Stravinsky and Eliot were once thought ugly and before them Monet, Mahler and Baudelaire. Pedants will also claim, with what I am sure is eye-popping insincerity and shameless disingenuousness, that their fight is only for 'clarity'. This is all very well, but there is no doubt what 'Five items or less' means, just as only a dolt can't tell from the context and from the age and education of the speaker, whether 'disinterested' is used in the 'proper' sense of non-partisan, or in the 'improper' sense of uninterested. No, the claim to be defending language for the sake of clarity almost never, ever holds water. Nor does the idea that following grammatical rules in language demonstrates clarity of thought and intelligence of mind. Having said this, I admit that if you want to communicate well for the sake of passing an exam or job interview, then it is obvious that wildly original and excessively heterodox language could land you in the soup. I think what offends examiners and employers when confronted with extremely informal, unpunctuated and haywire language is the implication of not caring that underlies it. You slip into a suit for an interview and you dress your language up too. You can wear what you like linguistically or sartorially when you're at home or with friends, but most people accept the need to smarten up under some circumstances - it's only considerate. But that is an issue of fitness, of suitability, it has nothing to do with correctness. There no right language or wrong language any more than are right or wrong clothes. Context, convention and circumstance are all.
I don't deny that a small part of me still clings to a ghastly Radio 4/newspaper-letter-writer reader pedantry, but I fight against it in much the same way I try to fight against my gluttony, anger, selfishness and other vices. I must confess, for example, that I find it hard not to wince when someone aspirates the word 'aitch'. ..."
(Stephen Fry, 4 November 2008)
Fig.1 Matthew Rogers (2010). 'Stephen Fry Kinetic Typography - Language'. http://rogerscreations.com/blog/?p=202