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  • So this is a story

  • of a place that I now call home.

  • It's a story of public education

  • and of rural communities

  • and of what design might do to improve both.

  • So this is Bertie County,

  • North Carolina, USA.

  • To give you an idea of the "where:"

  • So here's North Carolina, and if we zoom in,

  • Bertie County is in the eastern part of the state.

  • It's about two hours east

  • driving-time from Raleigh.

  • And it's very flat. It's very swampy.

  • It's mostly farmland.

  • The entire county

  • is home to just 20,000 people, and they're very sparsely distributed.

  • So there's only 27 people per square mile,

  • which comes down to about 10 people

  • per square kilometer.

  • Bertie County is kind of a prime example

  • in the demise of rural America.

  • We've seen this story all over the country

  • and even in places beyond the American borders.

  • We know the symptoms.

  • It's the hollowing out of small towns.

  • It's downtowns becoming ghost towns.

  • The brain drain --

  • where all of the most educated and qualified leave and never come back.

  • It's the dependence on farm subsidies

  • and under-performing schools

  • and higher poverty rates in rural areas

  • than in urban.

  • And Bertie County is no exception to this.

  • Perhaps the biggest thing it struggles with,

  • like many communities similar to it,

  • is that there's no

  • shared, collective investment

  • in the future of rural communities.

  • Only 6.8 percent of all our philanthropic giving in the U.S. right now

  • benefits rural communities,

  • and yet 20 percent of our population lives there.

  • So Bertie County is not only very rural; it's incredibly poor.

  • It is the poorest county in the state.

  • It has one in three of its children living in poverty,

  • and it's what is referred to as a "rural ghetto."

  • The economy is mostly agricultural.

  • The biggest crops are cotton and tobacco,

  • and we're very proud of our Bertie County peanut.

  • The biggest employer is the Purdue chicken processing plant.

  • The county seat is Windsor.

  • This is like Times Square of Windsor that you're looking at right now.

  • It's home to only 2,000 people,

  • and like a lot of other small towns

  • it has been hollowed out over the years.

  • There are more buildings that are empty or in disrepair

  • than occupied and in use.

  • You can count the number of restaurants in the county

  • on one hand --

  • Bunn's Barbecue being my absolute favorite.

  • But in the whole county there is no coffee shop,

  • there's no Internet cafe,

  • there's no movie theater, there's no bookstore.

  • There isn't even a Walmart.

  • Racially, the county

  • is about 60 percent African-American,

  • but what happens in the public schools

  • is most of the privileged white kids

  • go to the private Lawrence Academy.

  • So the public school students

  • are about 86 percent African-American.

  • And this is a spread from the local newspaper of the recent graduating class,

  • and you can see the difference is pretty stark.

  • So to say that the public education system

  • in Bertie County is struggling

  • would be a huge understatement.

  • There's basically no pool

  • of qualified teachers to pull from,

  • and only eight percent of the people in the county

  • have a bachelor's degree or higher.

  • So there isn't a big legacy

  • in the pride of education.

  • In fact, two years ago,

  • only 27 percent of all the third- through eighth-graders

  • were passing the state standard

  • in both English and math.

  • So it sounds like I'm painting a really bleak picture of this place,

  • but I promise there is good news.

  • The biggest asset, in my opinion,

  • one of the biggest assets in Bertie County right now is this man:

  • This is Dr. Chip Zullinger,

  • fondly known as Dr. Z.

  • He was brought in in October 2007

  • as the new superintendent

  • to basically fix this broken school system.

  • And he previously was a superintendent

  • in Charleston, South Carolina

  • and then in Denver, Colorado.

  • He started some of the country's first charter schools

  • in the late '80s in the U.S.

  • And he is an absolute renegade and a visionary,

  • and he is the reason that I now live and work there.

  • So in February of 2009,

  • Dr. Zullinger invited us, Project H Design --

  • which is a non-profit design firm that I founded --

  • to come to Bertie and to partner with him

  • on the repair of this school district

  • and to bring a design perspective to the repair of the school district.

  • And he invited us in particular

  • because we have a very specific

  • type of design process --

  • one that results in appropriate design solutions

  • in places that don't usually have access

  • to design services or creative capital.

  • Specifically, we use these six design directives,

  • probably the most important being number two:

  • we design with, not for --

  • in that, when we're doing humanitarian-focused design,

  • it's not about designing for clients anymore.

  • It's about designing with people,

  • and letting appropriate solutions emerge from within.

  • So at the time of being invited down there,

  • we were based in San Francisco,

  • and so we were going back and forth

  • for basically the rest of 2009,

  • spending about half our time in Bertie County.

  • And when I say we, I mean Project H,

  • but more specifically, I mean myself and my partner, Matthew Miller,

  • who's an architect and a sort of MacGyver-type builder.

  • So fast-forward to today, and we now live there.

  • I have strategically cut Matt's head out of this photo,

  • because he would kill me if he knew I was using it

  • because of the sweatsuits.

  • But this is our front porch. We live there.

  • We now call this place home.

  • Over the course of this year that we spent flying back and forth,

  • we realized we had fallen in love with the place.

  • We had fallen in love with the place and the people

  • and the work that we're able to do

  • in a rural place like Bertie County,

  • that, as designers and builders,

  • you can't do everywhere.

  • There's space to experiment

  • and to weld and to test things.

  • We have an amazing advocate in Dr. Zullinger.

  • There's a nobility of real, hands-on,

  • dirt-under-your-fingernails work.

  • But beyond our personal reasons for wanting to be there,

  • there is a huge need.

  • There is a total vacuum of creative capital in Bertie County.

  • There isn't a single licensed architect in the whole county.

  • And so we saw an opportunity

  • to bring design as this untouched tool,

  • something that Bertie County didn't otherwise have,

  • and to be sort of the -- to usher that in

  • as a new type of tool in their tool kit.

  • The initial goal became using design

  • within the public education system in partnership with Dr. Zullinger --

  • that was why we were there.

  • But beyond that, we recognized

  • that Bertie County, as a community,

  • was in dire need of a fresh perspective

  • of pride and connectedness

  • and of the creative capital

  • that they were so much lacking.

  • So the goal became, yes, to apply design within education,

  • but then to figure out how to make education

  • a great vehicle for community development.

  • So in order to do this, we've taken three different approaches

  • to the intersection of design and education.

  • And I should say that these are three things that we've done in Bertie County,

  • but I feel pretty confident that they could work

  • in a lot of other rural communities

  • around the U.S. and maybe even beyond.

  • So the first of the three is design for education.

  • This is the most kind of direct, obvious

  • intersection of the two things.

  • It's the physical construction

  • of improved spaces and materials and experiences

  • for teachers and students.

  • This is in response to the awful mobile trailers

  • and the outdated textbooks

  • and the terrible materials that we're building schools out of these days.

  • And so this played out for us in a couple different ways.

  • The first was a series of renovations of computer labs.

  • So traditionally, the computer labs,

  • particularly in an under-performing school like Bertie County,

  • where they have to benchmark test every other week,

  • the computer lab is a kill-and-drill

  • testing facility.

  • You come in, you face the wall, you take your test and you leave.

  • So we wanted to change the way that students approach technology,

  • to create a more convivial and social space

  • that was more engaging, more accessible,

  • and also to increase the ability for teachers

  • to use these spaces for technology-based instruction.

  • So this is the lab at the high school,

  • and the principal there is in love with this room.

  • Every time he has visitors, it's the first place that he takes them.

  • And this also meant the co-creation with some teachers

  • of this educational playground system

  • called the learning landscape.

  • It allows elementary-level students to learn core subjects

  • through game play and activity

  • and running around and screaming and being a kid.

  • So this game that the kids are playing here --

  • in this case they were learning basic multiplication

  • through a game called Match Me.

  • And in Match Me, you take the class, divide it into two teams,

  • one team on each side of the playground,

  • and the teacher will take a piece of chalk

  • and just write a number on each of the tires.

  • And then she'll call out a math problem --

  • so let's say four times four --

  • and then one student from each team has to compete

  • to figure out that four times four is 16

  • and find the tire with the 16 on it and sit on it.

  • So the goal is to have all of your teammates sitting on the tires

  • and then your team wins.

  • And the impact of the learning landscape

  • has been pretty surprising and amazing.

  • Some of the classes and teachers have reported higher test scores,

  • a greater comfort level with the material,

  • especially with the boys,

  • that in going outside and playing,

  • they aren't afraid to take on

  • a double-digit multiplication problem --

  • and also that the teachers are able

  • to use these as assessment tools

  • to better gauge how their students

  • are understanding new material.

  • So with design for education, I think the most important thing

  • is to have a shared ownership of the solutions with the teachers,

  • so that they have the incentive and the desire to use them.

  • So this is Mr. Perry. He's the assistant superintendent.

  • He came out for one of our teacher-training days

  • and won like five rounds of Match Me in a row and was very proud of himself.

  • (Laughter)

  • So the second approach is redesigning education itself.

  • This is the most complex.

  • It's a systems-level look

  • at how education is administered

  • and what is being offered and to whom.

  • So in many cases this is not so much about making change

  • as it is creating the conditions

  • under which change is possible

  • and the incentive to want to make change,

  • which is easier said than done in rural communities

  • and in inside-the-box education systems

  • in rural communities.

  • So for us, this was a graphic public campaign

  • called Connect Bertie.

  • There are thousands of these blue dots all over the county.

  • And this was for a fund that the school district had

  • to put a desktop computer and a broadband Internet connection

  • in every home

  • with a child in the public school system.

  • Right now I should say,

  • there are only 10 percent of the houses

  • that actually have an in-home Internet connection.

  • And the only places to get WiFi

  • are in the school buildings, or at the Bojangles Fried Chicken joint,

  • which I find myself squatting outside of a lot.

  • Aside from, you know, getting people excited

  • and wondering what the heck these blue dots were all over the place,

  • it asked the school system

  • to envision how it might become a catalyst

  • for a more connected community.

  • It asked them to reach outside of the school walls

  • and to think about how they could play a role

  • in the community's development.

  • So the first batch of computers

  • are being installed later this summer,

  • and we're helping Dr. Zullinger develop some strategies

  • around how we might connect the classroom and the home

  • to extend learning beyond the school day.

  • And then the third approach, which is what I'm most excited about,

  • which is where we are now,

  • is: design as education.

  • So "design as education" means

  • that we could actually teach design within public schools,

  • and not design-based learning --

  • not like "let's learn physics by building a rocket,"

  • but actually learning design-thinking

  • coupled with real construction and fabrication skills

  • put towards a local community purpose.

  • It also means that designers are no longer consultants,

  • but we're teachers,

  • and we are charged with growing creative capital

  • within the next generation.

  • And what design offers as an educational framework

  • is an antidote

  • to all of the boring, rigid, verbal instruction

  • that so many of these school districts are plagued by.

  • It's hands-on, it's in-your-face,

  • it requires an active engagement,

  • and it allows kids to apply all the core subject learning

  • in real ways.

  • So we started thinking

  • about the legacy of shop class

  • and how shop class -- wood and metal shop class in particular --

  • historically, has been something

  • intended for kids who aren't going to go to college.

  • It's a vocational training path.

  • It's working-class; it's blue-collar.

  • The projects are things like,

  • let's make a birdhouse for your mom for Christmas.

  • And in recent decades, a lot of the funding for shop class

  • has gone away entirely.

  • So we thought, what if you could bring back shop class,

  • but this time orient the projects

  • around things that the community needed,

  • and to infuse shop class

  • with a more critical and creative-design-thinking studio process.

  • So we took this kind of nebulous idea

  • and have worked really closely with Dr. Zullinger for the past year

  • on writing this as a one-year curriculum

  • offered at the high school level to the junior class.

  • And so this starts in four weeks,

  • at the end of the summer,

  • and my partner and I, Matthew and I,

  • just went through the arduous and totally convoluted process

  • of getting certified as high school teachers to actually run it.

  • And this is what it looks like.

  • So over the course of two semesters,

  • the Fall and the Spring,

  • the students spend three hours a day every single day

  • in our 4,500 square foot

  • studio/shop space.

  • And during that time, they're doing everything

  • from going out and doing ethnographic research and doing the need-finding,

  • coming back into the studio,

  • doing the brainstorming and design visualization

  • to come up with concepts that might work,

  • and then moving into the shop and actually testing them,

  • building them, prototyping them,

  • figuring out if they are going to work and refining that.

  • And then over the summer, they're offered a summer job.

  • They're paid as employees of Project H

  • to be the construction crew with us

  • to build these projects in the community.

  • So the first project, which will be built next summer,

  • is an open-air farmers' market downtown,

  • followed by bus shelters for the school bus system in the second year

  • and home improvements for the elderly in the third year.

  • So these are real visible projects

  • that hopefully the students can point to and say,

  • "I built that, and I'm proud of it."

  • So I want you to meet three of our students.

  • This is Ryan.

  • She is 15 years old.

  • She loves agriculture and wants to be a high school teacher.

  • She wants to go to college, but she wants to come back to Bertie County,

  • because that's where her family is from, where she calls home,

  • and she feels very strongly about giving back

  • to this place that she's been fairly fortunate in.

  • So what Studio H might offer her

  • is a way to develop skills

  • so that she might give back in the most meaningful way.

  • This is Eric. He plays for the football team.

  • He is really into dirtbike racing,

  • and he wants to be an architect.

  • So for him, Studio H offers him

  • a way to develop the skills he will need as an architect,

  • everything from drafting to wood and metal construction

  • to how to do research for a client.

  • And then this is Anthony.

  • He is 16 years old, loves hunting and fishing and being outside

  • and doing anything with his hands,

  • and so for him, Studio H means

  • that he can stay interested in his education

  • through that hands-on engagement.

  • He's interested in forestry, but he isn't sure,

  • so if he ends up not going to college,

  • he will have developed some industry-relevant skills.

  • What design and building really offers to public education

  • is a different kind of classroom.

  • So this building downtown,

  • which may very well become the site of our future farmers' market,

  • is now the classroom.

  • And going out into the community and interviewing your neighbors

  • about what kind of food they buy

  • and from where and why --

  • that's a homework assignment.

  • And the ribbon-cutting ceremony at the end of the summer

  • when they have built the farmers' market and it's open to the public --

  • that's the final exam.

  • And for the community, what design and building offers

  • is real, visible, built progress.

  • It's one project per year,

  • and it makes the youth the biggest asset

  • and the biggest untapped resource

  • in imagining a new future.

  • So we recognize that Studio H, especially in its first year,

  • is a small story --

  • 13 students, it's two teachers,

  • it's one project in one place.

  • But we feel like this could work in other places.

  • And I really, strongly believe in the power of the small story,

  • because it is so difficult

  • to do humanitarian work at a global scale.

  • Because, when you zoom out that far,

  • you lose the ability to view people as humans.

  • Ultimately, design itself is a process

  • of constant education

  • for the people that we work with and for

  • and for us as designers.

  • And let's face it, designers, we need to reinvent ourselves.

  • We need to re-educate ourselves around the things that matter,

  • we need to work outside of our comfort zones more,

  • and we need to be better citizens in our own backyard.

  • So while this is a very small story,

  • we hope that it represents a step in the right direction

  • for the future of rural communities

  • and for the future of public education

  • and hopefully also for the future of design.

  • Thank you.

  • (Applause)

So this is a story

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