Nestled in the heart of Seattle, Cornish College of the Arts fosters a dynamic environment where design meets innovation. For over 110 years, Cornish has helped artists explore their creative voices and transform their craft. We sat down with Natalia Ilyin, a distinguished faculty member and Fulbright Specialist, to discuss her journey, her interdisciplinary approach to design education, and how she’s shaping the future of critical thinking in design.

What was the focus of your work as a Fulbright Specialist in the Czech Republic at Brno University of Technology Architecture Program? 

“My work centered on teaching architecture students how to write argumentative criticism—a type of critique that is common in the U.S. and U.K. but less familiar in Europe,” Natalia explains. “It’s not about fighting, but about crafting a strong, thoughtful argument. I was there to help students understand how to approach design criticism in a way that pushes them to think critically about the world around them.”She adds, “This experience was incredibly enriching, and I plan to incorporate it into my teaching at Cornish. I’ll be bringing in perspectives from Brno to create an international dialogue in my classroom, helping students explore different methods of critique and argumentation.”Natalia’s time abroad highlights her dedication to preparing students for a globalized world where design is a language that transcends borders.

Can you explain your unique approach to teaching writing and how it benefits design students?

“My approach to teaching writing is visual—something that resonates deeply with design students,” Natalia shares. “I use diagrams and flowcharts to help students structure their thoughts. These students are visual thinkers, so by mapping out their ideas, they can better understand how to construct a cohesive argument.” This method, captured in her book Writing for the Design Mind, helps students not only improve their writing but also sharpen their critical thinking skills. “It’s not just about writing essays—it’s about making your ideas clear and impactful through a visual process,” she explains. Natalia’s innovative approach ensures that design students can express themselves as effectively in words as they do in visuals.

What skills should future design students develop before arriving at Cornish?

“We love students who are not satisfied with past answers,” Natalia says. “Of course, they should be passionate about drawing, crafting logos, or creating publications, but what we really value is character—students who question the world around them and seek to solve real-world problems through design.” Natalia emphasizes that Cornish is looking for students with a love for craft and a strong sense of self. “The best design students are the ones who are irritated by the status quo and are willing to question cultural messages,” she says. “That critical mindset is what sets apart the good designers from the great ones.”At Cornish, future designers are encouraged not only to hone their technical skills but also to cultivate a critical, questioning approach to the world.

How do you integrate interdisciplinary and multidisciplinary approaches into your design teaching?

“Interdisciplinary art is all about recognizing that design doesn’t happen in a vacuum,” Natalia explains. “At Cornish, we encourage students to explore multiple disciplines—whether it’s architecture, interior design, or graphic design. The key is understanding that all these forms of design stem from the same basic human needs.” She elaborates, “I want my students to feel that once they drill down into one field, a whole world of possibilities opens up. They should never feel limited to one tool or medium. Our goal is to produce well-rounded designers who can move fluidly between disciplines.” By pushing students to experiment with different mediums and methods, Natalia nurtures their ability to think beyond traditional design boundaries and explore creative possibilities.

What are you most proud of in your teaching career?

“I’m especially proud of the Parallel Narratives project,” Natalia reveals. “This initiative gives my students the opportunity to rewrite design history, incorporating voices that have often been left out of the narrative.” The project involves students compiling annotated bibliographies that challenge the traditional Eurocentric focus of design history. “It’s a hard task, but the students rise to the occasion every time,” she says. “We’ve published one book already and are preparing for a second. These projects not only contribute to the field of design, but they also help students develop a deeper understanding of their place within it.” Through Parallel Narratives, Natalia and her students are reshaping the conversation around design history, expanding it to include diverse perspectives and experiences.

Inspiring the Next Generation of Critical Designers

Natalia Ilyin’s impact on the Cornish community extends far beyond the classroom. Her commitment to interdisciplinary learning, her innovative teaching methods, and her passion for critical thinking help shape the next generation of designers. Her students don’t just leave Cornish with technical skills—they leave with the confidence to challenge assumptions and the ability to use design to make a meaningful impact on the world.

Explore more about Cornish’s Design Department and how you can become part of this creative community.Interested in learning more? Fill out the “Tell Us More” form to connect with our Admissions team!

Natalia Ilyin Bio: 

Natalia Ilyin is a design critic, teacher, and writer. Professor of Design, Design History, and Criticism at Cornish College of the Arts in Seattle, she has also taught at Rhode Island School of Design, Yale University, the Cooper Union, and the University of Washington. She is a founding faculty of the MFA in Graphic Design at Vermont College of Fine Arts, also known as VCFA. There, she advises graduate students on writing, critical thinking, and the constructs of history and design criticism. At Cornish, she and her former co-teacher Elisabeth Patterson created the Parallel Narratives design history curriculum and publishing program, which instills rigorous academic research skills in young designers, and grows design’s historical data from the student’s interests out, rather than from the historian down, resulting in an enriched reordering of the stories of design’s past. This course’s open-source syllabus is currently being taught in 21 design curricula internationally. Natalia also writes about design and culture. Through the years, her articles have been collected in several anthologies of design criticism, from the early Looking Closer 2 to the recent Total Armageddon. Her books include Chasing the Perfect: Thoughts on Modernist Design in Our Time, and the recent Writing for the Design Mind.