Strelka rated one of Europe’s best schools of architecture

25.12.2013, 10:02
posted in

For the second time, Strelka has been listed among the one hundred best European schools of architecture and design in a guide issued by DOMUS magazine. The 2014 edition is available in both printed and digital format and contains detailed descriptions of selected schools, their educational methods, prominent professors and alumni. The free iPad edition can be downloaded here.

Anastassia Smirnova: «It’s time for change»

18.12.2013, 15:51
posted in

The Programming Director of Strelka’s Education Programme speaks about the theme for the year and a new angle for city analysis.

During the first three years of Strelka’s existence, we set out to research large and ambitious themes: Public Space, Preservation, Design, and Urban Culture – quite a comprehensive range of topics. Since we considered ourselves something of an education start-up, we wanted first to map out the general area of our interest. Moreover, we intended to do it with great enthusiasm. Last year, for example, our students were researching education, and it is barely even possible to consider education a theme at all, it being such an immensely broad field of human activity. Students had to make painful choices, defining narrower and more specific themes to work on together with their tutors.

Emily Campbell: «The Constraints Are What Stimulate Creativity»

12.12.2013, 11:58
posted in

Director of Programmes at the Creative Education Trust, Emily did a workshop for Strelka students last week together with Pascal Anson, artist and product designer. Emily shared her thoughts about design, education and new ways of learning.

During your work at the Royal Society of Arts you produced a manifesto called «You know more than you think you do: design as resourcefulness & self-reliance». What does it stand for?

The RSA is an eighteenth-century membership organisation that has always had the encouragement of arts & manufacturing as part of its mission. I needed to renew its account of design and social progress in order to legitimise its continuing involvement with design in the context of much wider social pre-occupations.