Student's future, not teacher's past Teachers should prepare the student for the student’s future, not for the teacher’s past. Richard Hamming, The Art of Doing Science and Engineering: Learning to Learn Ambitions for someone else's mind teaching
Ambitions for someone else's mind "One of the first things I learned about teaching is that you have to respond to each student individually. You don't start with any idea of what they should be doing, who they're supposed to be, or what their performance level is, and you don't compare them to one another. You simply start with each one of them wherever they are and develop the process from there. "...I would think that the most immoral thing one can do is have ambitions for someone else's mind." Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees Student's future, not teacher's pastI can only conceive for you teaching
Learning via teaching The course material changes 15% each year, as the book currently in progress becomes part of the course years before it is finally published. I detect incoherencies and mistakes in the new material while teaching. This leads to refinements or even throwing stuff out from the forthcoming book. A good way to learn about something is to teach it. Edward Tufte, Seeing With Fresh Eyes teaching
Why we should read Unfortunately, the program met its end because the show’s approach opposed the contemporary standard format of children’s television: teaching kids how to read, rather than Reading Rainbow’s objective, which was to teach kids about why they should read. Reading Rainbow had a long run, lasting twenty-three years, but its cancellation feels like a symbolic blow. Education, just like climbing the ladder, must be balanced between How and Why. We so quickly forget that people, especially children, will not willingly do what we teach them unless they are shown the joys of doing so. The things we don’t do out of necessity or responsibility we do for pleasure or love; if we wish children to read, they must know why. Frank Chimero, The Shape of Design teachingreading
The curse of knowledge The better you know something, the less you remember about how hard it was to learn. The curse of knowledge is the single best explanation I know of why good people write bad prose. It simply doesn’t occur to the writer that her readers don’t know what she knows - that they haven’t mastered the patois of her guild, can’t divine the missing steps that seem too obvious to mention, have no way to visualize a scene that to her is as clear as day. And so she doesn’t bother to explain the jargon, or spell out the logic, or supply the necessary detail. Steven Pinker, The Sense of Style Such tortuous syntax knowledgeteachingux
The cultivation of inherent faculties Rousseau’s Emile argued that education is the cultivation of inherent faculties, rather than the imposition of knowledge. Taking this path, Pestalozzi recast the teacher as a protective figure who follows and stimulates the child’s inherent intelligence. Ellen Lupton & J. Abbott Miller, The ABC's of ▲■●: The Bauhaus and Design Theory teaching
It cannot be taught in words How to be a great painter cannot be taught in words; one learns by trying many different approaches that seem to surround the subject. Art teachers usually let the advanced student paint, and then make suggestions on how they would have done it, or what might also be tried, more or less as the points arise in the student’s head—which is where the learning is supposed to occur! Richard Hamming, The Art of Doing Science and Engineering: Learning to Learn teachingart
The wisdom of the apprentice Diderot's solution to the limits of language was to become himself a worker. Become an apprentice and produce bad results so as to be able to teach people how to produce good ones. Richard Sennett, The Craftsman learningteachingwisdom
Institutions of learning Institutions of learning should be devoted to the cultivation of curiosity and the less they are deflected by considerations of immediacy of application, the more likely they are to contribute not only to human welfare but to the equally important satisfaction of intellectual interest which may indeed be said to have become the ruling passion of intellectual life in modern times. Abraham Flexner, The Usefulness of Useless Knowledge teaching
Not of method but of heart In the end, teaching is a matter not of method but of heart. The teacher actually is right and always will gain confidence when he admits that he does not know, that he cannot decide, and, as it often is with color, that he is unable to make a choice or to give advice. Besides, good teaching is more a giving of right questions than a giving of right answers. Josef Albers, Interaction of Color teachingquestions
Results of a search This book presents results of a search, not of what is academically called research. In addition to the dedication of this book, I should like to state that my students in color have taught me more color than have books about color. Josef Albers, Interaction of Color A Search for Structure teaching
The great teacher The good teacher imparts a satisfying explanation; the great teacher unsettles, bequeaths disquiet, invites argument. Richard Sennett, The Craftsman teaching
This is how I lived Rather than convey "be like me," better parental advice should be more indirect: "This is how I lived" invites the child to reason about that example. Such advice omits "Therefore you should..." Find your own way; innovate rather than imitate. Richard Sennett, The Craftsman lifeteaching
Multiple choice Intuitive leaps that open up a problem are impossible to test using multiple-choice questions. These leaps are an exercise of associating unlikely elements. There is no correct answer to the question "Are city streets like arteries and veins?" Richard Sennett, The Craftsman teaching
I think very well of him indeed When I was still doubtful as to his ability, I asked G.E. Moore for his opinion. Moore replied, ‘I think very well of him indeed.’ When I enquired the reason for his opinion, he said that it was because Wittgenstein was the only man who looked puzzled at his lectures. — Bertrand Russell David Markson, Wittgenstein's Mistress understandingteaching
Technical viruosity "You have to develop students' confidence and prove to them in their own performance that there isn't anything they won't be able to accomplish technically, eventually, given a lot of application, before you can begin to convince them that that kind of technical virtuosity doesn't deserve the focus they have been led to believe it does by a performance-oriented culture." Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees teachingskill
Learning how to learn "Once you learn how to make your own assignments instead of relying on someone else, then you have learned the only thing you really need to get out of school, that is, you've learned how to learn. You've become your own teacher." Lawrence Wechler & Robert Irwin, Seeing Is Forgetting the Name of the Thing One Sees learningteaching
Immer wieder My attitude toward Alexander’s teachings prior to experiencing the places and spaces realized in his practice was akin to what Alan Watts said about certain teachings in The Bible: Sometimes, as St. Paul pointed out, commandments are not given in the expectation that they will be obeyed, but in the expectation that they will reveal something to those who hear them. Today, my answer is unequivocal. My interpretive lens: literal. Time and again, across cultures and continents and islands and oceans, in five different places now I’ve examined the evidence, and am persuaded. Nicht nur einmal: immer wieder. Dan Klyn, Einmal Ist Keinmal blog.usejournal.com religionteaching
No-nonsense Admittedly, though, however alert and aware I felt, I was probably more aware of the effects the lecture seemed to be having on me than of the lecture itself, much of which was over my head, and yet was almost impossible to look away from or not feel stirred by. This was partly due to the substitute's presentation, which was rapid, organized, undramatic, and dry in the way of people who know that what they are saying is too valuable in its own right to cheapen with concern about delivery or 'connecting' with the students. In other words, the presentation had a kind of zealous integrity that manifested not as style but as the lack of it. I felt that I suddenly, for the first time, understood the meaning of my father's term 'no-nonsense', and why it was a term of approval. David Foster Wallace, The Pale King styleteaching
Interaction of Color A Book by Josef Albers yalebooks.yale.edu The deception of colorPractice before theory50 redsNot the what but the howScotopic seeing+11 More Irwin Fluorescents colorgraphicscommunicationteaching
Welcome to class An Essay by Bill Tozier vaguery.com I differ from almost all your previous instructors in three ways: First, I acknowledge that this is true, whereas they have for the most part lied to you (and themselves) and declared you competent, even though they’ve had to re-train you from scratch in every damned class. Second, unlike them I intend to do something about it. And, third, in order to do something about it, I will let you—no, make you—cheat. teaching
The Craftsman A Book by Richard Sennett yalebooks.yale.edu The great teacherThe categories of goodFor its own sakeThe details of constructionThe technology shelf+38 More craftmakingmaterialstyle
The great teacher The good teacher imparts a satisfying explanation; the great teacher unsettles, bequeaths disquiet, invites argument. teaching
The categories of good We need to turn to a fresh page. We can do so simply by asking—though the answers are anything but simple—what the process of making concrete things reveals to us about ourselves. Learning from things requires us to care about the qualities of cloth or the right way to poach fish; fine cloth or food cooked well enables us to imagine larger categories of 'good'. making
For its own sake 'Craftsmanship' may suggest a way of life that waned with the advent of industrial society—but this is misleading. Craftsmanship names an enduring, basic human impulse, the desire to do a job well for its own sake. To see the fulfillment of the work craft
The details of construction The housing developments in the Moscow suburbs were built mostly in the decades after the Second World War. Laid out as enormous chessboards, the suburbs stretch to the horizon across flat land sparsely planted with birch and aspen. The architectural design of the suburban buildings was good, but the state had not been able to command good-quality work. The signs of poorly motivated workers appeared in the details of construction. Designing detail
The technology shelf Motorola developed what it called a 'technology shelf', created by a small group of engineers, on which were placed possible technical solutions that other teams might use in the future; rather than trying to solve the problem outright, it developed tools whose immediate value was not clear. The Usefulness of Useless Knowledge problemstechnology
The lure of inspiration The lure of inspiration lies in part in the conviction that raw talent can take the place of training.
I don't think you understand The physicist Victor Weisskopf once said to his MIT students who worked exclusively with computerized experiments: When you show me that result, the computer understands the answer, but I don't think you understand the answer. understanding
Impossibly coherent ...what gets lost mentally when screen work replaces physical drawing. Drawing in bricks by hand, tedious though the process is, prompts the designer to think about their materiality, to engage with their solidity as against the blank, unmarked space on paper of a window. Computer-assisted design impedes the designer in thinking about scale, as opposed to sheet size. The object on-screen can indeed be manipulated so that it is presented, for instance, from the vantage point of someone on the ground, but in this regard CAD is frequently misused: what appears on-screen is impossibly coherent, framed in a unified way that physical sight never is.
Head and hand The blueprint signaled a decisive disconnection between head and hand in design: the idea of a thing made complete in conception before it is constructed. The preliminary sketch design
Bodily reality To do good work means to be curious about, to investigate, and to learn from ambiguity. In the Fordist model of medicine, there must be a specific illness to treat, the evaluation of a doctor's performance will then be made by counting the time required to treat as many livers as possible and the number of livers that get well. Because bodily reality doesn't fit well inside this classifying model, and because good treatment has to admit experiment, a not insignificant number of doctors create paper fictions to buy themselves time from the bureaucratic monitors. Doctors in the NHS often assign a patient a disease in order to justify the time spent on exploring a puzzling body.
Awareness and knowledge In the higher stages of skill, there is a constant interplay between tacit knowledge and self-conscious awareness, the tacit knowledge serving as an anchor, the explicit awareness serving as critique and corrective.
The journeyman The apprentice goldsmith was place-bound while learning how to smelt, purify, and weigh precious metals. These skills required hands-on instruction from his master. Once the apprentice had locally presented his chef d'oeuvre, however, he could move from city to city as a journeyman, responding to opportunities. The traveling goldsmith journeyman made his presentation élevé to the corporate body of master craftsmen in foreign cities. Through his managerial talents and moral behavior he had to convince these strangers that he could become one of them. This migratory dynamism was built into medieval goldsmithing. Sedentary guilds, by contrast, appeared to him insert and 'corrupt'. The good master, in his words, "presides over a traveling house."
Building generations How did the builders of Salisbury Cathedral achieve this astonishing construction? There was no one single architect; the masons had no blueprints. Rather, the gestures with which the building began evolved in principles and were collectively managed over three generations. Each event in building practice became absorbed into the fabric of instructing and regulating the next generation. architecture
A thousand little moves Missing in these analyses is a reconstruction of the workshops of the master—more precisely, one element that has irretrievably gone missing. This is the absorption into tacit knowledge, unspoken and uncodified in words, that occurred there and became a matter of habit, the thousand little everyday moves that add up in sum to a practice. The most significant fact we know about Stradivari's workshop was that he was all over it, popping up unexpectedly everywhere, gathering in and processing those thousand bits of information that could not signify in the same way to assistants who were doing just one part.
Mirror tools A mirror-tool is an implement that invites us to think about ourselves. There are two kinds of mirror-tools. These are the replicant and the robot.
A quiet and contented mind The Encyclopedia sought to get its readers out of themselves and into the lives of artisan craftsmen in order to clarify good work itself. Throughout, the volumes illustrate people engaged sometimes in dull, sometimes in dangerous, sometimes in complicated labor; the expression on all the faces tends to the same serenity. About these plates the historian Adriano Tilgher remarks on the "sense of peace and calm which flows from all well-regulated, disciplined work done with a quiet and contented mind."
The limits of language The question of human limits was posed to Diderot the moment he, as it were, rose from his armchair. His method for finding out how people worked was, like a modern anthropologist, to ask them: We addressed ourselves to the most skilled workers in Paris and the kingdom at large. We took the trouble to visit their workshops, to interrogate them, to write under dictation from them, to follow out their ideas, to define, to identify the terms peculiar to their profession. The research soon ran into difficulty, because much of the knowledge craftsmen possess is tacit knowledge—people know how to do something but they cannot put what they know into words. Diderot remarked of his investigations: "Among a thousand one will be lucky to find a dozen who are capable of explaining the tools or machinery they use, and the things they produce with any clarity." What we can say in words may be more limited than what we can do with things. Language is not an adequate 'mirror-tool' for the physical movements of the human body. ux
The wisdom of the apprentice Diderot's solution to the limits of language was to become himself a worker. Become an apprentice and produce bad results so as to be able to teach people how to produce good ones. learningteachingwisdom
This is how I lived Rather than convey "be like me," better parental advice should be more indirect: "This is how I lived" invites the child to reason about that example. Such advice omits "Therefore you should..." Find your own way; innovate rather than imitate. lifeteaching
Entropy Imperfect, handmade glass has virtues: these are irregularity, distinctiveness, and what the writer refers to vaguely as 'character'. The two sets of images for glassblowing are thus inseparable; only by understanding how something might be done perfectly is it possible to sense this alternative, an object possessing specificity and character. The bubble or the uneven surface of a piece of glass can be prized, whereas the standard of perfection allows no room either for experiment or for variation. making
Against the claim of perfection We should not compete against the machine. Rather, against the claim of perfection we can assert our own individuality.
Seven lamps Ruskin's Seven Lamps of Architecture provided seven guides, or 'lamps', for the troubled craftsman, guides for anyone who works directly on material things. These seven are: The lamp of sacrifice: The willingness to do something well for its own sake. The lamp of truth: The truth that 'breaks and rents continually'; Ruskin's embrace of difficulty, resistance, and ambiguity. The lamp of power: Tempered power, guided standards other than blind will. The lamp of beauty: Which for Ruskin is found more in the detail, the ornament—hand-sized beauty—than in the large design. The lamp of life: Life equating with struggle and energy, death with deadly perfection. The lamp of memory: The guidance provided by the time before machinery ruled. The lamp of obedience: Obedience to the example set by a master's practice rather than by his particular works; otherwise put, strive to be like Stradivari but do not seek to copy his particular violins. 125 Best Architecture Books
I am here I am here, in this work. A maker's mark is a peculiar sign. Ancient brickwork established presence through small details marking 'it': the detail itself. The great historian of bricks, Alex Clifton-Taylor, observes that what most counts about them is their small size, which just suits the human hand laying a brick. A brick wall, he says, "is therefore an aggregation of small effects. This implies a human and intimate quality not present to the same extent in stone architecture." Most cities were mostly built by improvisationThe joy of the humble brick details
Get a grip The hand is the window on to the mind. — Immanuel Kant American slang advises us to "get a grip"; more generally we speak of "coming to grips with an issue." Both figures reflect the evolutionary dialogue between the hand and the brain. thinking
Focal awareness The philosopher Maurice Merleau-Ponty describes what she experienced as "being as a thing." The philosopher Michael Polanyi calls it "focal awareness" and recurs to the act of hammering a nail: When we bring down the hammer we do not feel that its handle has struck our palm but that its head has struck the nail. We have become the things on which we are working. The inventive process was often a nonverbal oneHe feels the end of the cane identity
Sublime tools Getting better at using tools comes to us, in part, when the tools challenge us, and this challenge often occurs just because the tools are not fit-for-purpose. In both creation and repair, the challenge can be met by adapting the form of a tool, or improvising with it as it is, using it in ways it was not meant for. The all-purpose tool seems a special case. In its sheer variety, a flat-edged screwdriver admits all manner of unfathomed possibilities; it, too, can expand our skills if only our imagination rises to the occasion. Without hesitation, the flat-edged screwdriver can be described as sublime—the word sublime standing, as it does in philosophy and the arts, for the potently strange. tools
Crafting repair Repair is a neglected, poorly understood, but all-important aspect of technical craftsmanship. The sociologist Douglas Harper believes that making and repairing form a single whole; he writes of those who do both that they possess the "knowledge that allows them to see beyond the elements of a technique to its overall purpose and coherence. This knowledge is the 'live intelligence, fallibly attuned to the actual circumstances' of life. It is the knowledge in which making and fixing are parts of a continuum." Put simply, it is by fixing things that we often get to understand how they work. Its place in the web of nature craftrepair
When history moves on Much twentieth-century urban planning proceeded on the principle: demolish all you can, grade it flat, and then build from scratch. The existing environment has been seen as standing in the way of the planner's will. This aggressive recipe has frequently proved disastrous, destroying many viable buildings as well as ways of life bedded into urban fabric. The replacements for these destroyed buildings have also, too often, proved worse: big projects suffer from overdetermined, fit-for-purpose form; when history moves on, as it always does, tightly defined buildings can soon become obsolete. urbanism
Details first The identification a good craftsman produces is selective, that of finding the most forgiving element in a difficult situation. Often this element is smaller, and so seems less important, than the larger challenge. It is an error in technical as in artistic work to deal first with the big difficulties and then clean up the details; good work often proceeds in just the opposite fashion. problems
Walls and membranes All living things contain two sites of resistance. These are cell walls and cell membranes. The cell wall is more purely exclusionary – a boundary; the membrane permits more fluid and solid exchange – a border. Most pervasive in the modern city is the inert boundary established by highway traffic, cutting off parts of the city from each other. Working with resistance means, in urbanism, converting boundaries into borders. urbanism
The ground plane Whereas Corbusier relegated streets to traffic functions, the ground plane represented to Van Eyck the realm in which people 'learn' cities. The placement of benches and bollards, the height of stepping-stones, the ill-defined separations of sand, grass, and water are all tools in that learning, an education in ambiguity. If children are transferred from a lively city street
Most cities were mostly built by improvisation In Architecture Without Architects, Bernard Rudofsky documented the ways in which most cities were mostly built by improvisation, following no consistent formal design. Building was added to building, street to street, their forms adapting to different site conditions in the process of extension. Rudofsky thought that this hidden order is how most settlements of poor people develop and that the work of improvising street order attaches people to their communities, whereas 'renewal' projects, which may provide a cleaner street, pretty houses, and large shops, give the inhabitants no way to mark their presence on the space. I am hereNon-architects urbanism
The aspiration for quality To arouse the aspiration for quality and make good on it, the organization itself has to be well crafted in form. It needs, like Nokia, open information networks; it has to be willing to wait, as Apple is, to bring its products to market until they are really good. On TasteMore profitable and a better buy workquality
Oddity and peculiarity The experienced doctor, as one would expect, is a more accurate diagnostician. This is due in large part to the fact that he or she tends to be more open to oddity and peculiarity in patients, whereas the medical student is more likely to be a formalist, working by the book, rather rigidly applying general rules to particular cases.
Relentlessness deformed it I am not interested in erecting a building, but in presenting to myself the foundations of all possible buildings. — Ludwig Wittgenstein. But in a note of 1940 to himself he wrote that the building "lacks health" or "primordial life". In the construction of a house for his sister in the Kundmangasse, Wittgenstein's striving for an ideal perfection rendered the object lifeless. Relentlessness deformed it. architecture
Necessity Loos's need to respond positively to the difficulties he encountered appeared in the errors that occurred during the construction of the Villa Moller. When the foundations were not laid as specified, he could not afford to dig them up and start again; instead, Loos thickened the form of one side wall to accommodate the mistake, making the thickened wall and emphatic side frame for the front. The formally pure properties of Villa Moller were achieved by working with many similar mistakes and impediments Loos had to take as facts on the ground; necessity stimulated his sense of form. Wittgenstein, knowing no financial necessity, had no such creative dialogue between form and error. constraints
The narrative of its making Getting things in perfect shape can mean removing the traces, erasing the evidence, of a work in progress. Once this evidence is eliminated, the object appears pristine. Perfection of this cleaned-up sort is a static condition; the object does not hint at the narrative of its making. making
The good craftsman The good craftsman... ...understands the importance of the sketch—that is, not knowing quite what you are about when you begin. ...places positive value on contingency and constraint. ...needs to avoid pursuing a problem relentlessly to the point that is becomes perfectly self-contained. ...avoids perfectionism that can degrade into a self-conscious demonstration. ...learns when it is time to stop. craft
Your life adds up Weber's German word for a vocation, Beruf, contains two resonances: the gradual accumulation of knowledge and skills and the ever-stronger conviction that one was meant to do this one particular thing in one's life. An English locution roughly conveys what he meant: your life 'adds up'. All in & with the flowThe saddest designerI've designed it that wayFor something believed in worklife
To do just one thing well The skills society is bulldozing the career path; jobs in the old sense of random movement now prevail; people are meant to deploy a portfolio of skills rather than nurture a single ability in the course of their working histories; this succession of projects or tasks erodes belief that one is meant to do just one thing well.
Manual labor Artisanal craftsmen have proved particularly promising subjects for job retraining. The discipline required for good manual labor serves them, as does their focus on concrete problems rather than on the flux of process-based, human relations work. For this very reason it has proved easier to train a plumber to become a computer programmer than to train a salesperson; the plumber has craft habit and material focus, which serve retraining. Employers don't often see this opportunity because they equate manual routine with mindless labor. Making coal miners into programmers work
Multiple choice Intuitive leaps that open up a problem are impossible to test using multiple-choice questions. These leaps are an exercise of associating unlikely elements. There is no correct answer to the question "Are city streets like arteries and veins?" teaching
Hephaestus The clubfooted Hephaestus, proud of his work if not of himself, is the most dignified person we can become. craft