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Assignments can give instructions, describe an exercise, present a problem, set out rules, propose a game, stimulate a process, or simply throw out questions. Taking a Line for a Walk brings attention to something that is often neglected: the assignment as a pedagogical element and verbal artefact of design education. This book is a compendium of 224 assignments, edited by Nina Paim and coedited by Emilia Bergmark. A reference book for educators, researchers, and students alike, it includes both contemporary and historical examples and offers a space for different lines of design pedagogy to converge and converse. An accompanying essay by Corinne Gisel takes a closer look at the various forms assignments can take and the educational contexts they exist within. Taking a Line for a Walk derived from an exhibition of the same name at the International Biennial of Graphic Design Brno 2014.

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D for Dummy Woman, M for Monster’s Tools, S for Style Defense, U for Unstable Signs – the Glossary of Undisciplined Design looks into undisciplinarity as a feminist unpacking of the field of graphic design, of dogmatic rules, discriminatory structures and a particularly one-sided canon. Carried by a decidedly fragmentary and collective backbone, the GUD handbook combines a multitude of theories and narratives of varying densities – from visual essay, hands-on experiment, interview or advertorial, to poem, speculative tale and academic writing. With around 55 contributions by 20 international designers, activists, educators and theorists, the Glossary of Undisciplined Design explores role models, tools and dissent. Contributions: Clara Balaguer, Sheila Levrant de Bretteville, Ece Canlı, Hackers & Designers, Markus Dreßen, Sara Kaaman, Anja Kaiser, Jungmyung Lee, Vincent Schier, Rebecca Stephany, Franciska Zólyom, Studierende der Staatlichen Hochschule für Gestaltung Karlsruhe, and others Glossary of Undisciplined Design is a joint initiative instigated by designer/educators Anja Kaiser and Rebecca Stephany. Kaiser is active in feminist contexts and in the club culture scene, where she seeks to carve out space for resistance. Stephany’s polyphonic cultural practice is fuelled by intersectional social critique, undisciplined research tools, and an unquenchable desire for imagery.

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Enzo Mari curated by Hans Ulrich Obrist with Francesca Giacomelli examines over 60 years of activity of one of italy’s greatest masters and theorists of design. the exhibition consists of a historical section and a series of contributions from international artists and designers – adelita husni-bey, tacita dean, dominique gonzalez-foerster, mimmo jodice, dozie kanu, adrian paci, barbara stauffacher solomon, rirkrit tiravanija, danh vō, nanda vigo, and virgil abloh for the merchandising project – who have been invited to pay tribute to mari with site-specific installations and new, specially commissioned works.

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(4th edition, 4th size) A recalled dialogue from some time ago: Martino: I will make 100 chairs åbäke: What, the same one 100 times? M: No, they will be different. They’ll be actual size 3D sketching, somehow, you know, instead of drawing on a piece of paper. å: Sounds great. Do it in 100 days then.

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The Natural Enemies of Books is a response to the groundbreaking 1937 publication Bookmaking on the Distaff Side, which brought together contributions by women printers, illustrators, authors, typographers and typesetters. It highlights the print industry’s inequalities and proposes a takeover of the history of the book. Edited by feminist graphic design collective MMS (Maryam Fanni, Matilda Flodmark and Sara Kaaman), Natural Enemies includes several new essays and poems by Kathleen Walkup, Ida Börjel, Jess Baines and Ulla Wikander. It also offers conversations with former typesetters Inger Humlesjö, Ingegärd Waaranperä, Gail Cartmail and Megan Dobney as well as reprints of the original book.

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Ode to chairs Dear chairs, You appear to be multiplying in our quiet brown house. Some of you are familiar old friends, others of you have only just arrived and I haven’t quite got used to you yet. Some of you I can’t move, some of you make me constantly stub my toe. Others of you are light as air as I move you from one corner of the room to another. Some of you are quite uncomfortable, others surprisingly relaxing; some quiet and humble, others a little louder. Some of you are ugly, but all of you are beautiful. Some of you I dislike, yet none I would want to live without. You come from nature, from the ground, trees and rocks, but you also speak of modern times. You are all different, but you are all made in the same spirit, by the same hands, and can stand alone or live together. Each of you speaks of a time, a place and a moment in our lives. With love, Gemma & Ivo

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The interdisciplinary and experimental educational ideas espoused by Black Mountain College (BMC), founded in North Carolina in 1933, made it one of the most innovative schools in the first half of the twentieth century. Visual arts, economics, physics, dance, architecture, and music were all taught here on an equal footing, and teachers and students lived together in a democratically organized community. The first rector of the school was John Andrew Rice, and Josef Albers, John Cage, Walter Gropius, and Buckminster Fuller were among the many adepts to give courses here. In consequence, BMC witnessed the development of a range of avant-garde concepts. This richly illustrated book appears in conjunction with the Black Mountain exhibition. It is the first comprehensive publication on BMC in the German-speaking world and traces the key moments in the history of this legendary school.

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