Where Are the Design Apprenticeships?

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In the world of design, the portfolio is paramount, often more central than one’s credentials or awards. As a designer myself, I’m more concerned with the work someone has done and is capable of. Some designers I know have found great success without a master’s degree, and others with master’s degrees still struggle. The reverse is true as well, of course.

I recently stumbled on a blog post from Annie Murphy Paul asking if apprenticeships might be an alternative to college. Here’s what Robert Lerman, a professor at American University, had to say:

An apprenticeship is a structured program of work-based learning and classroom-based instruction that leads to certification in an occupation, and it involves a high level of skill demands and it covers many occupations, depending on the country. In our country, we focus more on the skilled trades in construction and in manufacturing, but it can work in many other fields.

Could that include design? With rising tuition rates, the idea of going to college can be daunting. Some professions, like medicine and law, require strong credentials. But others, like design, are more about the portfolio. Are there other ways to develop that portfolio?

The tech world might reveal some examples. A recent New York Times piece looked at one young man, Benjamin Goering, who joined a company without a college degree:

So in the spring of 2010, Mr. Goering took the same leap as Mr. Zuckerberg: he dropped out of college and moved to San Francisco to make his mark. He got a job as a software engineer at a social-software company, Livefyre, run by a college dropout, where the chief technology officer at the time and a lead engineer were also dropouts. None were sheepish about their lack of a diploma. Rather, they were proud of their real-life lessons on the job.

But not everyone is able to just take the leap. We all need training, especially when it comes to the complex ins and outs of design. Should we be seeing more apprenticeships? Should design studios consider offering them? I can imagine they’d be distinct from internships; the connotation of an apprenticeship suggests learning on the job, and not just serving coffee between college classes.

Lerman might agree. Here’s what he said in the above-mentioned blog post: “Shouldn’t we have space for people who like to learn by doing, who like to combine classroom activity with real employability at the workplace and skill development at the workplace? I think we need both.”

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Nursery School in Berriozar by Javier Larraz, Iñigo Beguiristain and Iñaki Bergera

A row of colourful louvres wraps around classrooms and playgrounds at this concrete kindergarten near Pamplona in Spain (+ slideshow).

Nursery School in Berriozar

Designed by Spanish architects Javier Larraz, Iñigo Beguiristain and Iñaki Bergera, the nursery was designed as a rectangular complex with courtyard playgrounds contained behind the stripy walls.

Nursery School in Berriozar

The team were inspired by a statement from American architect Louis Kahn, who wrote that the first school would have begun with people who did not realise they were learning. “Drawing a parallel with the story of Kahn, one might wonder about the role that architecture plays in the practice of teaching,” they explain.

Nursery School in Berriozar

The architects added a generous hall between the individual classrooms. “[It] works as a gathering and exchange place around which the rest of the program is distributed and organised,” Bergera told Dezeen.

Nursery School in Berriozar

The brightly coloured louvres line each elevation, moderating light into the classrooms whilst forming a protective screen around the two playgrounds located at the ends of the building. “The reference to crayons is evidently there,” added Bergera.

Nursery School in Berriozar

Asymmetric chimneys rise up from the roof to draw natural light down into the central hall and classrooms, and provide natural ventilation.

Nursery School in Berriozar

Other recently designed kindergartens include a nursery in Paris with rippling concrete walls and a nursery in Japan with pyramidal chimneys.

Nursery School in Berriozar

See more stories about kindergartens »

Nursery School in Berriozar

Iñaki Bergera also works as a professional photographer, so all photographs were produced by the architects.

Nursery School in Berriozar

Here’s some more information from the architects:


Nursery School in Berriozar

According to Louis I. Kahn the first school began under a tree, when a man who knew he was a teacher began to discuss what he had learned with others who did not know they were students. Like those students, children under 3 years old learn intuitively and unconsciously. Drawing a parallel with the story of Kahn, one might wonder about the role that tree, that is, architecture, plays in the practice of teaching. We strongly believe in the pedagogical value of architecture and, in the case of a nursery school, its actual capacity to create opportunities that help children to develop suggestive, attractive and safely this stage of their life.

Nursery School in Berriozar

The nursery school in Berriozar is established according to a model inherited from the Italian municipal schools of Reggio Emilia, where childcare facilities are primarily organized around a main ‘square’ that serves as interaction and meeting point and as a space meant for the common activities of the school.

Nursery School in Berriozar

Given the distinctive longitudinal proportion of the plot, the square had to be placed in a central position along with two separate courtyards at the ends. Thus, the classrooms and facilities moved into an intermediate position, directly connected to both the central square – illuminated and understood as an outer space – and the playgrounds, treated as an extension of the physical and visual interior spaces.

Nursery School in Berriozar

This plant layout forces to act on the deck in order to naturally illuminate and ventilate all rooms. The powerful geometry of these skylights, that arise depending on the activity that takes place on the ground, becomes one of the hallmarks of the project.

Nursery School in Berriozar

The construction is arranged from a modulated structure of reinforced concrete that qualifies and defines both the inner space and the way in which light falls on it.

Nursery School in Berriozar

A colorful lattice wraps the building and its playgrounds, clarifying and enriching the relationship between the street and the interior spaces. Given this external chromatic display linked to childlike and playful character of the building, the interior offers a serene and neutral atmosphere thanks to the generous overhead homogeneous and natural lighting.

Nursery School in Berriozar

The dual scale and play are, finally, the two fundamental tools used to define the interior space and the equipment. The inescapable playful condition of the spaces complements with the dimensional control in relation to the different sizes of children and caregivers and the different objectives pursued: for kids, premises adapted to the activities an the size of the groups and, for caregivers, high permeability and transparency to facilitate visual control of children.

Location: Calle Errota, Berriozar, Navarra, Spain
Architects: Javier Larraz, Iñigo Beguiristain and Iñaki Bergera
Collaborator: Juan Miguel García

Nursery School in Berriozar

Above: floor plan – click above for larger image

Technical Architects: Atec Aparejadores
Engineering: Naven Ingeniería de Instalaciones
Structure: FS Estructuras

Nursery School in Berriozar

Above: roof plan

Project date: October 2009
Construction date: June 2011 – May 2012
Developer: Berriozar Municipality

Nursery School in Berriozar

Above: section – click above for larger image

Budget: €1.308.055,34
Cost per m2: 1.023 €/m2
Project Area: 1278.01 sqm (construction) + 602 sqm (urbanization)
Main contractor: H.N.V. Harinsa Navasfalt, S.A.

Nursery School in Berriozar

Above: axonometric diagram

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Iñigo Beguiristain and Iñaki Bergera
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Zaha Hadid’s Oxford college project to start on site

News: Zaha Hadid’s planned extension to a centre for studying Middle-Eastern culture at the University of Oxford is set to begin construction later this month (+ slideshow).

Middle East Centre at St Antony's College, Oxford, by Zaha Hadid

Zaha Hadid Architects designed the addition in 2006 for St Antony’s College, one of the seven graduate colleges that comprises the UK’s oldest university. A series of planning and funding issues had delayed construction but the ground breaking is now scheduled for 30 January.

Middle East Centre at St Antony's College, Oxford, by Zaha Hadid

The extension will provide a new library and archive for the Middle East Centre, the college’s facility for the study of humanities and social sciences in the Arab World. Built using stainless steel and glass, the structure will bridge the gap between the centre and a neighbouring college building and will appear from the street as a reflective tunnel suspended in space.

Middle East Centre at St Antony's College, Oxford, by Zaha Hadid

A staircase will wind up between the two storeys of the building to link a large ground floor reading room with a first floor archive dating back to the start of the nineteenth century, as well as a lecture theatre in the basement.

Middle East Centre at St Antony's College, Oxford, by Zaha Hadid

The project forms part of a wider masterplan for St. Antony’s College proposed by architects ADP. Meanwhile, British architect Alison Brooks is currently working on a scheme for a new quadrangle at the university’s Exeter College.

Middle East Centre at St Antony's College, Oxford, by Zaha Hadid

Zaha Hadid has also been in the news recently over a building she designed in China, which has been pirated by a rival developer.

Middle East Centre at St Antony's College, Oxford, by Zaha Hadid

See all our stories about Zaha Hadid »

Here’s a project description from Zaha Hadid Architects:


Middle East Centre, St. Antony’s College, University of Oxford

The Middle East Centre of St. Antony’s College is the University of Oxford’s centre for interdisciplinary study of the Modern Middle East. The centre was founded in 1957 and it is focused on research on humanities and social sciences with a wide reference to the Arab World and its geographic adjacencies. The Centre’s research core is a specialised library and substantial paper and photographic archive covering material from 1800’s onwards. At present, the Middle East Centre’s Library and Administration facilities are housed in the former Rectory of the Church of SS. Philip and James at 68 Woodstock Road. The archive is housed in the basement of the neighbouring property at 66 Woodstock Road, sharing the building with other facilities and rooms of the college. The Middle East Centre also had 3 workrooms in the same property. To tie in with the St. Antony’s College future plans the Middle East Centre is planning a new Library and Archive to meet the current use for research and academic activities. Construction for the Zaha Hadid Architects designed scheme, situated in the garden plot between 68 and 66-64 Woodstock Road, is due to commence in January 2013. The new building will comply with the College’s vision for growth and add formal coherence to the existing quad, and tie in with the ambitious ADP’s masterplan for St. Antony’s college.

Middle East Centre at St Antony's College Oxford by Zaha Hadid

Above: ground floor plan – click above for larger image

Architect’s statement

Our approach is to define a series of plateaus and territories where different academic and research affiliations can be apparent from the character of the interior space. Form is driven by a series of tension points spread on a synthetic landscape that blends built and natural elements. The new structure deforms and adapts to this new abstract environment, revealing paths and flows, whilst containing the more introvert aspects of the programme brief. The new bridging form allows for programme connection at different levels, gradating space in relation to the public/ private dichotomy. The intention is to create a suspended structure that allows for the more public aspects of the brief to infiltrate the building and spill into the college’s curtiledge facing the Hilda Bess building. This is a flexible territory where space is layered through contrasting use of built elements and materials.

Middle East Centre at St Antony's College, Oxford, by Zaha Hadid

Above: first floor plan – click above for larger image

The main bridging shell is linked to this open area by a central staircase that lead the user to the centre’s main academic components, the new library and the new archive. The contrast in scale and depth is highlighted by a concave/convex nature of the main reading spaces, where the limited variation of use is complemented by material difference in relation to the public plateau. By lifting the connection between 68 and 66 Woodstock Road, it allows for a more diverse and complex articulation between the interior and exterior and well as the programme brief elements themselves, opening up new public spaces and reconnecting the Middle East Centre with the south boundary of the College through a new organized quad link. By defining the main bridge in terms its flow and dynamism, we allow for the existing structure to be read as separate elements, complementing their current detached character.

Middle East Centre at St Antony's College Oxford by Zaha Hadid

Above: long section one – click above for larger image

The building does not aim to impose; but instead the floating nature of the ‘bridge’ is emphasised via the chosen cladding material. The main building body will be clad with stainless steel, which has a light and ephemeral appearance, because the existing context of listed buildings and trees are mirrored in its surface; as are the ever changing light conditions and seasonal changes.

Middle East Centre at St Antony's College Oxford by Zaha Hadid

Above: long section two – click above for larger image

The impression of a floating link is further supported through the use of frameless glazing to the base of the stainless steel clad main body. Located here on the ground floor of the Softbridge building is the foyer, which doubles up as a multipurpose space for exhibitions or small events. The expanse of frameless glass towards the landscaped area in front of Woodstock Road encourages to linger, rest and reflect.

Middle East Centre at St Antony's College Oxford by Zaha Hadid

Above: long section three – click above for larger image

Viewed from the South where also the entrance is located the building opens itself up towards the internal courtyard, where a new landscaped level connection is being created as the access route between the new Gateway building and the Softbridge building.

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Giraffe Childcare Centre by Hondelatte Laporte Architectes

A gigantic yellow giraffe pokes its heads out from the roof of this nursery and childcare centre in Paris by French studio Hondelatte Laporte Architectes (+ slideshow).

Giraffe Childcare Centre by Hondelatte Laporte Architectes

The larger-than-life statue appears to act as a supporting column, as its body pushes up through a cantilevered upper storey so that only legs, a long neck and a head can be spotted by passers-by.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

“The idea is to animate the urban landscape by using a child’s imagination,” explains Hondelatte Laporte Architectes.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

The aptly named Giraffe Childcare Centre accommodates a 60-bed childcare facility and a nursery for up to 20 children, in addition to playgrounds on each of its three levels.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

As well as the giraffe, the playgrounds feature a white bear and a parade of huge ladybirds, all constructed from concrete. “Through their affable form, the lively animal sculptures invite us to live our dreams,” say the architects.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

The centre is located beside Jean Nouvel’s Horizons offices, in the riverside Boulogne-Billancourt district in the south-west of the city.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

The entrance is positioned at the end of the building so that visitors have to walk through the giraffe’s legs on their way inside.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

The architects used corrugated metal cladding for the whole exterior, creating a series of bright white elevations.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Animal sculptures are a recurring feature in designs for children and we’ve previously featured a restaurant with a model elephant inside.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Giraffe fans may also enjoy a house with a front door tall enough to let one of the animals, or the giraffe enclosure at Rotterdam Zoo.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Photography is by Philippe Ruault.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Here’s some project details from the architects:


The Giraffe childcare centre is located in the C1 block of the Seguin Rives de Seine district in Boulogne-Billancourt, a suburban area of Paris. The program houses a 60 bed childcare centre and 20 bed day nursery. The building has been awarded the green “zéro Energie Effinergie” label. This public building is located next to Jean Nouvel’s “Horizons” tower, at the junction between the “Vieux pont de Sèvres” neighbourhood, built in the 70s, and the new area called “le Trapèze”. The high density of this area gives it a rugged skyline. To be integrated into this particular urban landscape, the building is composed of three tiers. Each of the south-facing playgrounds is in continuity with the interior spaces and is identified by a unique concrete animal sculpture. Viewed from the surrounding towers, the regular sequence of terraces offers a real “fifth facade” to the neighbourhood.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

The facades of the building are made out of white corrugated iron that provides a minimal background to the wild animal sculptures. The idea is to animate the urban landscape by using a child’s imagination. The wild animals appropriate the space; a giraffe appears to be peacefully eating the leaves of the trees from the neighbouring park, a polar bear tries to clamber up the steps, while a family of ladybirds climbs the façade in an attempt to reach the interior patio.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Architecture turns into storytelling. The building changes its identity and becomes a landscape in its own right, a metaphor for the urban jungle. The animals and the trees link the building to nature and motion. The giraffe has become a banner for the nursery since it is visible in the surrounding area from all angles. We walk through its legs to enter the building. Through their affable form, the lively animal sculptures invite us to live our dreams. These playful and dreamlike sculptures introduce a little bit of fantasy into the routine life of the town in order to inspire our lives with a bit of poetry.

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Project name: Giraffe childcare centre
Architect(s): Hondelatte Laporte Architectes
Project manager: Virginie Davo
Project team: Charlotte Fagart (architect)
Engineering: Studetech
HEQ Engineering: GCB Gestion Conseil Bâtiment

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Client: SAEM Val de Seine Aménagement
Program: 60 bed childcare centre and 20 bed day nursery.
Lieu/Location: Boulogne-Billancourt (92) – France
Competition: January 2009
Delivery: 2012
Area: 1450 sq m
Cost: 3 744 000€ HT
Construction companies): SPIE SCGPM (general contractor), AAB (animals sculpture)

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: site plan – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: ground floor plan – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: first floor plan – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: second floor plan – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: roof  plan – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: side elevation – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: front elevation – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: side elevation – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: rear elevation – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: long sectional elevation – click above for larger image

Giraffe Childcare Centre by Hondelatte Laporte Architectes

Above: cross sectional elevation – click above for larger image

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Hondelatte Laporte Architectes
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Electrolux Design Lab Gets Urban Twist

The Electrolux Design Lab competition is back for its eleventh go-round, and this year the theme–urbanization–invites a broader array of entries than ever before. Design students (undergraduate or graduate) from around the world have until March 15 to submit creative ideas for an innovative product, accessory, consumable, or service that “would be seen as a breakthrough within the sector of social cooking, natural air, or effortless cleaning.”

Flummoxed by the concept of social cooking, and fearful that it may involve having to share dessert, we consulted Electrolux and learned that for this category, the judges are looking for ideas that address city dwellers’ “shortage of entertaining space and preparation time, whilst allowing us to live a healthier lifestyle.” This sounds like a job for Jetsons-style food pellets–after all, last year’s first-prize winner was Jan Ankiersztajn‘s Aeroball, a constellation of luminescent, helium-infused balls that floatingly filter and fragrance the air in a room. Noble gases win again. Begin the brainstorming process (where can we get some delicious yet effortless neon?) by watching highlights from last year’s finals, held at the Triennale Design Museum in Milan.

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MFA Products of Design: Priority Application Date is February 15

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If you’re getting prepared for grad school, the MFA Products of Design priority application deadline is coming up on February 15th. The progressive program, launched at SVA, chaired by Core77’s Allan Chochinov, and having just now completed its first semester, is casting a wide net:

We are looking for all kinds of applicants for the MFA program: the highly-skilled, seeking more meaningful applications; the deeply-knowledgeable, looking for greater scale and impact; the passionate, looking for more rigor and process; and of course the iconoclastic, looking for a home.

And scraped from their Q&A page:

Q: Who should apply to this program?

A: We’ve had great interest from working designers, a few years out of school and looking for more meaning in what they do with their acquired skills. Designers at this stage are often disillusioned by pumping out toxic garbage, but they haven’t given up on their belief in the power of design. These kinds of people are precious, because they’ve got the skills in place, and they’ve got the passion to put them to more meaningful use. They just need a nurturing, challenging place to discover new opportunities in the world of design, and to really dig deep into what they uniquely have to contribute. Here I’d say, “We want you back.”

We are also looking for extraordinarily creative individuals who actually should be in design. The skill sets and vocabularies required of a design person are rapidly changing, and there are now many many places for creative people to contribute to the enterprise of design. We are looking for people with deep, comprehensive skills in a couple particular areas, and who hunger for ways to integrate those skills into something bigger. That’s the thing–we’re in the business of training people to become great designers–sure. But we’re also in the business of empowering creative, strategic, and fearless people to do great things in the world of design. Designers crave influence from the edges, so we welcome people with excellent chops in something vital, who are intensely curious about making a difference and who are enamored of the fact that design deals in scale; that a single action can multiply out to great effect.

(Some nice special effects: The Design Research class will be taught at IDEO; the Material Futures class at Material ConneXion; Design Narratives class at Project Projects; working professional faculty with deep industry connections, including Paola Antonelli, Masamichi Udagawa, Sigi Moeslinger, Jason Severs and more; heart of NYC.) Apply Page is here.

(more…)

Well-designed schools improve learning by 25 percent says new study

Sensory Impacts on Learning

News: well-designed classrooms can improve the academic performance of primary school pupils by 25 percent according to a new study undertaken by the University of Salford and UK architects Nightingale Associates.

The year-long study assessed seven schools in Blackpool, where researchers surveyed pupils about age, gender and performance in maths, reading and writing. They also evaluated classroom environments by measuring factors such as natural light, noise levels, temperature, air quality and classroom orientation, before comparing the two sets of data.

“It has long been known that various aspects of the built environment impact on people in buildings, but this is the first time a holistic assessment has been made that successfully links the overall impact directly to learning rates in schools,” said Peter Barrett, a professor at the University of Salford. “The impact identified is in fact greater than we imagined.”

Caroline Paradise of Nightingale Associates‘ research arm THiNK added: “This will support designers and educators in targeting investment in school buildings to where it will have the most impact, whether new build or refurbishment.”

Architects are using the study to argue against the recent restrictions enforced by the UK government on the design of new school buildings, including a ban on curved or glass walls and the addition of standard room sizes. Architect Richard Rogers commented: “This study confirms what our practice, Rogers Stirk Harbour + Partners, has long believed: good design has the potential to have a truly positive effect on the way children learn.”

Describing his firm’s design for Mossbourne Community Academy in Hackney, he added: “Mossbourne is a striking piece of evidence; high in the league tables and with staff and pupils commenting enthusiastically about the impact of the school’s careful design. We proved that it is possible to produce a well-designed school collaboratively with the senior teaching staff which adheres to a tight budget. I hope that the government takes note of this report for the sake of the next generation.”

Mossbourne Community Academy by Rogers Stirk Harbour + Partners

Above: Mossbourne Community Academy by Rogers Stirk Harbour + Partners, photographed by Mark Burton

However, Education secretary Michael Gove has dismissed the significance of the study and is pushing ahead with plans to build 261 primary and secondary schools using the new ‘baseline’ templates. A spokeswoman from the department for education said: “There is no convincing evidence that spending enormous sums of money on school buildings leads to increased attainment. An excellent curriculum, great leadership and inspirational teaching are the keys to driving up standards.”

She continued: “The standard school designs for the Priority Schools Building Programme will provide light, bright and airy learning environments for pupils and were drawn up jointly with architects and teaching experts to make the very best use of space.”

Gove, who spearheaded the plans for standardised templates, previously claimed that architects were “creaming off cash” for school design. In a conference last year he said: “We won’t be getting Richard Rogers to design your school, we won’t be getting any award-winning architects to design it, because no one in this room is here to make architects richer.”

The new government guidelines came into force on 31 October and the Royal Institute of British Architects voiced concerns that the proposed ‘flat pack’ approach will “deprive students and teachers of quality environments that are proven to support teaching and learning”. Meanwhile, London studio Aberrant Architecture claimed that the UK should look to Brazil as an example for quality school building programmes and Nicholas Hare Architects‘ partner Paul Baxter told Dezeen: “It is important that the lessons about school design that architects have learned over the last few years should not be wasted,” following his firm’s completion of a secondary school with walls of yellow brick, bronzed aluminium and unfinished timber.

The full results of the survey have been published here and the researchers plan to continue their studies for a further 18 months, covering 20 more schools in different parts of the UK.

Gove’s department also plans to remove design and other creative subjects from the school curriculum, a move branded “short-sighted insanity” by incoming D&AD president Neville Brody and the subject of a campaign by over 150 UK designers, brands and organisations including Apple’s Jonathan Ive and fashion designer Stella McCartney.

Find out more about the new standardised school templates in our earlier story, see all our stories about UK school design.

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by 25 percent says new study
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Make 2013 the Year You Master HTML and CSS

Admit it. Your seven-year-old nephew could out-HTML tag you any day and you think that a Cascading Style Sheet is something with a thread count. That’s where the Mediabistro mothership comes in. They’ve asked us to tell you about the upcoming online course in HTML and CSS. Over four semantically marked up weeks, web design design guru Laura Galbraith will guide you through a variety of web page production techniques, from column-based layouts and search engine optimization to HTML5 video and advanced CSS styles. The online learning fun begins January 29, and by Valentine’s Day you’ll have brought a pre-designed webpage to life. Preview the course syllabus and register here.

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Positively Dog Training: Masterful advice in an iPad e-book for raising obedient pups

Positively Dog Training

In the right hands, a clicker and a bag of treats can work wonders on an unruly pet. “Positively Dog Training” is a digital book from Open Air Publishing that hopes to provide some teacher training for new masters in the business of sitting, staying and house-breaking. Accompanying instructional…

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From Ando to Zumthor, SCI-Arc’s Media Archive Arrives Online


Frank Gehry in a 1976 interview, now digitized and online in the SCI-Arc Media Archive.

You’ve exhausted your Netflix queue and watched every episode of Homeland (twice), but fresh video wonders await you in the Southern California Institute of Architecture (SCI-Arc)’s Media Archive, which is now online with more than 1,000 hours–and counting–of architecture and design lectures, symposia, and events dating to 1974. Among the video trove is this 1976 interview with Frank Gehry. “The work of Donald Judd fascinates me. It’s sort of using cheap materials and getting a lot of response out of it,” a 47-year-old Gehry tells Shelly Kappe. “I guess that’s minimal art…I’m not just interested in minimal art, though. I don’t think that’s my whole thing, although it appears that way in some of the buildings. I’m more into the illusionary qualities of a building and creating a visual richness without it really being there. You almost have to trip over it. I guess it’s minimal in that sense.”

Created with funding from the Getty Foundation (as part of the “Pacific Standard Time Presents: Modern Architecture” initiative) and the National Endowment for the Arts, the web-based archive also includes rare footage of Charles Eames, Zaha Hadid, David Hockney, Rem Koolhaas, John Lautner, Thom Mayne, Eric Owen Moss, and Kazuyo Sejima, among hundreds of others. And many of the architects and artists appear more than once, providing opportunities to analyze their development over the span of their careers. Don’t miss the “Exhibits” section, which features handpicked assortments of videos around particular themes. Delve into one called “Unfrozen Music (and Dancing)” and you’ll encounter Richard Neutra‘s wife, Dione, singing folksongs and accompanying herself on the cello.

New Career Opportunities Daily: The best jobs in media.