January 28, 2016


Andrasik, Patricia. “LEED Lab in Action: Catholic University’s LEED Lab Legacy.” USGBC.org, April 2015. Web.

Atif, Yacine. “Conversational learning integration in technology enhanced classrooms.” Computers in Human Behavior. Vol. 29, No. 2, 416-423: March 2013.

Analyzes how to implement conversational learning in technology enhanced classrooms. Has great diagrams of general conceptions of centering the classroom around different pedagogical strategies such as conversational learning and studio model. See section 4 for specific reference to conversational learning in a studio classroom.

Ball, Cheryl E. et. al. Writer/Designer: A Guide to Making Multimodal Projects. Bedford: St. Martins, 2014.

Bang, Molly. Picture This: How Pictures WorkChronicle Books, 2000.

Barry, Daved. Meisiek, Stefan. “Discovering the Business Studio,”Journal of Management Education. Vol. 39, No. 1, 153-175: 2015.

This article examines the use of studio learning in business education based on 25 years of studies. The introduction (153-156) outlines the history of implementing studio design into business courses; lists successful business schools that have integrated studio learning into their curriculum. The first section “Places for Learning by Making” (156-161) defines what a business studio consists of. The second section “A Timely Phenomenon” (161-163) discusses the current relevance of business studios. The third section “Business Studios in Practice” (163-170) analyzes 4 studio “lenses” through which to approach studio learning—materialities, place, process, and theme. The fourth section, “Studio Legitimization” (170-171) speaks to application of studio learning is business. Conclusion, “Further on” (171-172).

Berengueres, Jose. The Brown Book of Design Thinking. UAE University College Press. 2013.

Bernhard, Meg. “New Humanities Courses Experiment with Teaching Methods.The Harvard Crimson. Jan 29 2014.

This brief (1.5 pg) article details how two freshman humanities courses will incorporate studio learning into their cross-disciplinary content. These courses are being sponsored by what looks like the Harvard equivalent of CNDLS – their Institute for Learning and Teaching. (Although this article is from 2014, a brief search of Harvard’s site revealed that the university continues to offer humanities studio courses.)

Blumenstyk, Goldie. “From A Red House Off Campus, Georgetown Tries to Reinvent Itself.” The Chronicle of Higher Education. January 2016. Web.

Brandt, Carol B., et. al. “A Theoretical Framework for the Studio as a Learning Environment.” International Journal of Technology and Design Education. 23(2013):329-348.

Brocato, Kay. “Studio-Based Learning: Proposing, Critiquing, Iterating Our Way to Person-Centeredness for Better Classroom Management.” Theory Into Practice, 48(2009): 138-146.

Brown, James J. Jr and Nathaniel A. Rivers. “Composing the Carpenter’s Workshop.” in O-Zone: A Journal of Object-Oriented Studies 1 (2014): 27-36.

Brown, John Seely. New Learnings Environments for the 21st Century: Exploring the Edge. Change Sdeptember/October 2006.

Discusses how to incorporate many students’ videogame experiences/skills into the classroom setting. Addresses humanities beginning page 21. Has valuable diagrams for visualizing how to integrate specific kinds of skills and focus capabilities. Considers the architecture studio as a powerful form of learning.

Buchanan, Richard. “Design and the New Rhetoric: Productive Arts in the Philosophy of Culture.” in Philosophy and Rhetoric 34.3 (2001): 183 – 206. JSTOR.

–. “Design Research and the New Learning.” in DesignIssues 17.4 (2006): 3-23.

Buderi, Robert. “MIT Media Lab’s Joi Ito on the Future of Design, Learning, and Science.” Xconomy.com. April 22, 2015.

Butler, Brian S. and David S. Kaufer. Rhetoric and the Arts of DesignRoutledge, 1996. Print.

Cennamo, Katherine, et. al. “Managing the Complexity of Design-Based Problems through Studio-Based Learning.” The Interdisciplinary Journal of Project-Based Learning, 5.2(2011): 12-36.

Cox, Azura. “A Park That Moves Around the City.” Citylab. September 9, 2015. Web.

Cross, Nigel. Design Thinking: Understanding How Designers Think and WorkBloomsbury Academic Publishers, 2011. Print.

Curedale, Robert A. Design Thinking: process, and methods manual. Design Community College, Inc. February 1, 2013. Print.

deLaski, Kathleen. “Can Old Style Universities become Hotbeds of Innovation?Education Design Lab. Febrary, 2016. Web.

–. “Should Universities teach students to ‘find themselves’?” The Washington Post. October 2015. Web.

Dorst, Kees. Frame Innovation: Create New Thinking by Design. The MIT Press, 2015.

Duke University Haiti Lab

Founded in 2010, the Haiti Lab is the first humanities laboratory at the Franklin Humanities Institute. The lab merges research, education, and practical applications of innovative thinking for Haiti’s disaster recovery and for the expansion of Haitian studies in the U.S. and Haiti. Located at the FHI’s headquarters at the Smith Warehouse, the Haiti Lab takes its inspiration from the collaborative and discovery-driven model of research laboratories. Undergraduate and graduate students work with specialists in Haitian culture, history, and language on projects featuring vertical integration of Duke University expertise across disciplines and schools. The Haiti Lab is also a resource for media outlets seeking to gain knowledge of Haiti.

Fleming, David. “Design Talk: Constructing the Object in Studio Conversations.” in Design Issues 14.2 (1998): 41-62.

–. City of Rhetoric. New York: SUNY Press, 2008.

Gallagher, Victoria J., Kelly Norris Martin, Magdy Ma.  “Visual Wellbeing: Intersections of Rhetorical Theory and Design.” Design Issues 27.2 (2011): 27-40.

Groves, Robert. “Students as Producers Versus Consumers.” The Provost’s Blog. June 2015.

Gruber, Donald D. and Jack A. Hobbs. “Historical Analysis of Assessment in Art Education.” Art Education 55.6 (2002): 12-17.

Traces issues that have resulted in a limited body of theoretical and practical information on assessment methods in visual arts education.  These involve shifting ideas around art as a  mode of self-expression, privileging evaluation of process over artistic product,  and desire for a structured framework for teaching art content.

Harvard University. Project Zero. Web.

Heathcott, J,“Blueprints, Tools, and the Reality Before Us, Improving  Doctoral Education in the Humanities., Improving Doctoral Education in the Humanities.” Change. 39.5, 46-51: Sept. 2007.

This article addresses specific steps taken by the faculty and staff at Saint Louis University to redesign their Ph.D. in American Studies. In addition to replacing exams with creating a portfolio, they also redesigned courses, including retooling courses to fit the studio model. Most relevant page is 49.

Kuhn, Sarah, “Learning from the Architecture Studio: Implications for Project-Based Pedagogy,” International Journal of Engaging Education 17:4-5, pp. 349-352.

Provides a useful, quick overview of the “features of the design studio,” which could be helpful in our efforts to define what we mean by “studio learning” and in clarifying the relationship between that and “design thinking.”

Lerman, Liz. Hiking the Horizontal. Connecticut: Wesleyan University Press, 2014.

Marbeck, Richard. “Embracing Wicked Problems: The Turn to Design in Compositional Studies.” in College Compositionand Communication, 61.2(2009): 397 – 419.

McNely, Brian J. and Nathaniel A Rivers. “All of the Things: Engaging Complex Assemblages in Communication Design.” Proceedings of the 32nd ACM International Conference on the Design and Communication. ACM New York, NY, 2014. Conference Proceeding.

Miller, Peter N. “Is ‘Design Thinking’ the New Liberal Arts?” The Chronicle Review. March 26, 2015. Web.

Mock, Brentin. “There Are No Urban Design Courses on Race and Justice, So We Made Our Own Syllabus.” CityLab. May 14, 2015. Web.

Motley, Phillip. “Learning-to and from-the Visual Critique Process.”New Directions for Teaching & Learning 2015, no. 141 (Spring 2015): 77–86.

Article outlines pedagogy, practices, challenges and suggestions for the use of public critique in class of student-produced and historical examples of visual art .   May be useful for anyone interested in ways to facilitate group critique to build critical/analytical skills and to reinforce disciplinary content and application of specialized vocabulary.

Project-Based Learning.” Edutopia. July 2016. Web.

Purdy, James P. “What Can Design Thinking Offer Writing Studies?” in College Composition and Communication, 65.4(2014):  n.p.

Schrand, Tom, and John Eliason, “Feedback practices and signature pedagogies: what can the liberal arts learn from the design critique?”  Teaching in Higher Education 17:1, pp. 51-62.

A helpful article for thinking about how we can apply elements of the studio, which is often used in fields that emphasize performance and production but is not (yet) common in the humanities, to other kinds of courses.

Grego, Rhonda C. and Nancy S. Thompson, Teaching/Writing in Third Spaces: The Studio Approach.  Conference on College Composition and Communication, 2008.

Since several of us are exploring how studio and design thinking approaches work in the teaching of writing, this seems useful, if only to clarify how the idea of studio has been used by others in our field.  This book emerges from a model of small peer group work that ran parallel to first-year writing courses and supported basic writers,  It’s also useful for its attention to the spaces of studio learning.

Zarrilli, Phillip B., “The Metaphysical Studio,TDR (The DramaReview), Vol. 46,  No. 2 (Summer, 2002), pp. 157-170. JSTOR.

This is a studio process description that provides an insight into the sort of exploration that occurs in an acting studio whether the focus is on creating work, exploring and rehearsing already written texts or in actor training sessions.

Lynch, Paul. After Pedagogy: The Experience of Teaching. CCCC/NCTE Studies in Writing & Rhetoric Series. 2013. Book.

Monk, Nicholas; Rutter, Carol C.; Neelands, Jonothan & Heron, Jonathan, Open Space Learning: A Study in Transdisciplinary Pedagogy. London & New York: Bloomsbury Publishing, 2011.

A set of articles from the University of Warwick in the UK discussing various projects utilizing theatrical studio approaches for a variety of disciplinary learning goals.

Santos, Mark and Mark Leahy. “Santos and Leahy Postpedagogy and Web Writing,” Computers and Composition 32 (2014).

Abstract: Collaborative digital tools, online communities, and the evolution of literacy create opportunities in which writing for an English class and writing for the “real” world no longer have to be two separate activities. Seizing such opportunities requires rethinking the desire to teach writing—a move toward what has been termed postpedagogy. We align the interactive and collaborative affordances of web writing with a postpedagogical model of learning focused on inventive practices grounded in kairotic interactions. We also detail our candid experiences working with students who are writing for real world audiences, as well as the productive risks and anxieties such an approach produces.

Nussbaum, Bruce. “Design Thinking is a Failed Experiment. So What’s Next?” Fast Company. April 2011.

Pendleton-Jullian, Ann. Four (+1) Studios. 2010. PDF.

James J. Brown, Jr. and Nathaniel A. Rivers. Rivers Brown Rhetorical Carpentry.” O-Zone:  A Journal of Object-Oriented Studies1 (2014).

ABSTRACT: Rhetoric and composition (R/C) has been increasingly concerned with understanding rhetoric and writing beyond the human-centered rhetorical situation. This piece argues that R/C can be hospitable to various projects that take up the agency and existence of objects. Further, the composition classroom presents a promising space for what we call, by way of Ian Bogost, rhetorical carpentry. In particular, the field’s focus on ecology is concerned with making and with production. This is in keeping with R/C’s long tradition of focusing on rhetorical invention, which productively resonates with object-oriented studies.

Kolko, John. “Design Thinking Comes of Age.” Harvard Business Review. September 2015. Web.

Roozen, Kevin. “Doing 2-d Design, Arranging American Literature, Crafting Creative Writing: Re-situating the Development of Discursive Practice.” Enculturation, 2014.

Sheridan, David Michael. “Fabricating Consent: Three-Dimensional Objects as Rhetorical Compositions.” in Computers and Composition 27.4(2010): 249-265.

Smith, Mark K. “Donald Schon (Schön): Learning, Reflection, and Change.infed. July 2001. Web.

Stanford Design School Website. http://d.school.stanford.edu/

Thomson, Pat. “Signature Pedagogies.” University of Nottingham School of Education. Website.

Website developed through School of Education, University of Nottingham to explore distinctive practices used in the teaching and learning of creative disciplines. Provides case studies, characteristic approaches, resources, and  research findings (here’s a link to the full report.)

UC Berkeley Townsend Center Humanities Lab

In 2009, The Townsend Center developed the Townsend Humanities Lab as an exploration into the ways in which Web 2.0 resources and digital tools could enhance research in the humanities and interpretive social sciences. Originally conceived of as a two-year project, this endeavor was up and running for four years and was successful in creating a consciousness about digital tools among scholars at Berkeley and in the broader community. The project was also successful in launching many types of collaborations across disciplines—from courses and research groups to Designated Emphases (minors) and on-line museum exhibitions—all taking place on the site and supported by the Townsend Center. We remain committed to digital humanities research and interdisciplinary collaboration and we will continue to foster the digital humanities community in many ways—by migrating the THL blog and the biblio-file to the main Townsend Center Site, and by continuing to offer and support public programming about digital humanities research.

UC Humanities Research Institute. “What is a Humanities Studio?”

Very brief (1 pg) overview with concise definition of humanities studio and several key features of what a humanities studio includes. Seems like a nice introduction to the concept of inclusion studio learning in humanities. Also references 2 ongoing humanities lab projects, the Duke University project (see Duke University Haiti Lab) and the UC Berkeley project (see Townsend Humanities Lab).

Waldvogel, Francis A. “The new educational frontier: Spoken word, written word, cyberword – the newest challenge of higher education.” Keynote lecture, 19th ACDE World Conference, Vienna. 1999.

Presented as the key-note lecture at the International Council for Open and Distance Communication Conference in June 1999, this lecture and accompanying powerpoint slides from a presentation comparatively analyzes the repercussions of the Gutenberg press and 21st century massive shift in information technologies. An interesting read – on page 11 he predicts the impending arrival of smartphones and discusses generally how to approach this shift in human communication, and thus, in pedagogy.

Who We Are.” International Design Clinic. Web.

5 Keys to Rigorous Project-Based Learning.” Edutopia. 2014. Video.