Children's Learning Places I Pedagogy and Architecture - Two case studies in Australian schooling

CHILDREN’S LEARNING PLACES l Pedagogy and Architecture Two case studies in Australian Schooling

Angus James Hardwick

A thesis in fulfilment of the requirements for the degree of Bachelor of Architectural Studies Honours School of Architecture Faculty of the Built Environment November 2013

ORIGINALITY STATEMENT ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’

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ACKNOWLEDGEMENTS

Firstly to my family who have been incredibly supportive and inspirational. Without their encouragement and assistance I would not be able to pursue many of my goals or adventures. To my mum, Sandra, who amongst many other roles, has been my critical friend throughout this project. She has offered valuable insights into her work as a teacher and librarian, and in the process I suspect has become more spatially aware of her own teaching place. To my dad and sister, Nigel and Emma, who have both been sounding boards, proof-readers, and supporters. To my sister, Gretel, who has offered her continued support from the other-side of the world and was present when the beginnings of this project were taking seed.

I would like to recognise my supervisor Ann Quinlan for her continued encouragement, direction, and advice over the course of this project. This project has been a journey of discovery in the true sense. As my first serious research investigation, her support in evolving my initially wildly assertive ideas was invaluable. My thinking as a budding architecture student has developed over this project and I thank her for alerting me to many considerations and subtleties within the built environment and my professional spheres, to which I was previously oblivious.

I would like to express my sincere gratitude to Helen Farrell of the UNSW Learning Centre, and friend Lachlan Hughes who both have contributed significant time in proof-reading and editing this thesis. Their advice and direction has been incredibly instructive.

Thanks must go to the children and adults associated with the All Saints Grammar Junior School, and the Penleigh Essendon Grammar Senior School projects who agreed to participate in this thesis’ investigation out of their own good will. Special mention must go to the 27 participating children and their parents: Adony, Angeliki, Aspasia, Athan, Christiana, Demi, Emmanuel, Jamie, Jonathan, Kathy, Kosta, Leon, Mia, Nectarios, Nicholas, Nicholas, Paige, Peta, Spiridon, Thomas, Tifani, Valentina, Vasili, Vicky, William, Yianni, and Zaharoula. Thanks also go to Angelo Candalepas, Carmel Hurst, Daniel Griffin, Debbie-Lyn Ryan, Elfa Lillis, Evan Pearson, Kerry Barris, Nina Bilewicz, Pol Kouroushis, and Robert Hamilton who donated significant time to this project offering me the opportunity to document their experiences and perspectives.

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EXTENDED ABSTRACT

This investigation of architect designed and awarded settings for children’s school learning experiences is framed by three recent Australian contextual considerations.

Firstly, to advance and secure a strong economic future desired by Australia as a nation, education is recognised as a national priority. This commitment is evident in the intentions of the national curriculum and schools testing, schools ranking and building projects, through to the recent Gonski’ report which proposes changes to the Commonwealth / State school education funding model.

Secondly, the national focus on education has brought a revitalised focus by educationalists and researchers to enhancing the relationship between pedagogical best practice and well-designed spatial experiences. Finally, building upon this focus, architects are applying their professional capabilities to the architectural design of schools with increased attention to the particular design of children’s learning spaces.

In considering these national contextual considerations my point of investigative departure is twofold: firstly as a student of architecture, who has aspiration to pursue architectural practice, I desire to focus on the ‘lived experience’ setting in which architectural practice aims to deliver well designed spaces and places; secondly I wish to reveal the engagement complexity of differing ‘players or actors’ in a practice setting where learning places are conceived, procured, designed and used by children and teachers. For these reasons a multimodal research methodology guides my investigation.

I raise questions such as: how can the experiences of ‘players’, including children, architects, and teachers, in a project be captured and revealed? How much do architects listen to the ‘players’ in a project and respond to what they hear? In recognising the complexity of practice, I seek to examine and delineate the organisational structures and procedures which determine decisions within an architectural project. Mindful that the current architecture awards program in Australia is not inclusive of post occupancy criteria, through this inquiry I hope to contribute to an understanding of what is meaningful and excellent in architecturally designed learning spaces for children.

In positioning the lived quality of a child’s learning places as my investigative ‘matter of concern’, I use the constructive and gathering orientation of Bruno Latour’s actor network theory (ANT) as a framework for a multimodal inquiry approach. In addition to investigating the literature, the framework allows a case study approach to ground this inquiry. The two case studies selected are: the All Saints Grammar Junior School (All

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Saints) in Sydney designed by Candalepas Associates. This project was awarded the NSW Sulman Award for Public Architecture in 2009; The Penleigh and Essendon Grammar Senior School (PEGS Senior) in Melbourne designed by McBride Charles Ryan (MCR) which was awarded a 2013 architecture prize in Victoria for public architecture.

This thesis aspires to document and map the voices of the ‘players and actors’ and aims to reveal the stratification that exists within the organisational arrangements these players are engaged by. Through a research orientation where the conceptual concerns are considered interdependent of a specific context the case studies were investigated by: engaging children to draw and write about their experiences within their learning setting; empowering teachers to visually document, describe and express their experiences within their workplace; conduct semi-structured extended interviews with architects, school principals, members of a school’s administration, and builders to reveal a projects intent, development and use; and analyse published material and perspectives on these architecturally awarded spaces and places.

In the activity of investigation I became alert to the constant and shifting change educational organisations and their players endure, necessitating agility and a need for learning places for children to be resilient and open to future possibilities. Considering this background I realise there is a delay in the flow and activation of information and research concerning: pedagogical best practice; with a child and teachers spatial experiences to a commissioned architect. A client’s vision, an architect’s design orientation, or their reliance on acquired acumen may guide the briefs development instead. This investigation reveals the children respondents, as active engaged ‘players’, have pointed and firm opinions about their learning place informed by their experiences and that architecture projects would benefit from hearing their voices.

I hope that this investigation contributes to ongoing research to develop future learning places for the benefit of Australian children whilst alerting architects in their practice to be mindful and inclusive of all players and actors and their voices within a project.

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My School I Nicholas

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CONTENTS

Acknowledgements Extended Abstract

FRONT MATTER

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Introduction Aims of Thesis Structure of Thesis Research Framework I A Matter of Concern Research Framework I Actor Network Theory (ANT) Research Framework I Application in Architecture Research Model Front Matter Reflection

CONTEXTUAL CONSIDERATIONS 11 CHAPTER 1 Overview Section 1 I National Priorities Section 2 I Current Research Section 3 I Children as Key Players Section 4 I School Design in Australia Section 5 I Architecture Awards

CONCEPTUAL DOMAIN 20 CHAPTER 2

Overview Section 1 I Children & their Experiences Section 2 I Educational Theories & Pedagogical Approaches Section 3 I Design Concerns - User focused places Section 4 I Chapter Reflection

METHODOLOGICAL DOMAIN 37 CHAPTER 3 Section 1 I Conceptual Position Section 2 I Investigative Model Section 3 I Case Study Selection Section 4 I Chapter Reflection

SUBSTANTIVE DOMAIN 61 CHAPTER 4

Section 1 I Case Study 1 - All Saints Grammar Section 2 I Case Study 2 - PEGS Senior

CONCLUSIONS 128 CHAPTER 5 LIST OF DIGITAL APPENDIX 134 GLOSSARY OF KEY TERMS 135 IMAGE SOURCES 138 REFERENCE LIST 141

My School I Valentina

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FRONT MATTER

Introduction This thesis explores architect designed and awarded settings in which children’s school learning experiences occur. It makes explicit the complex relationships and organisational structures which contribute to the design, procurement and use of a child’s learning place. My point of investigative departure is twofold: firstly as a student of architecture, who has aspirations to pursue architectural practice, I consider the ‘lived experience’ which architectural practice aims to deliver, in particular for children in the places that they learn. Secondly, I wish to reveal the complex network of engagement of differing ‘players or actors’ in a practice setting where learning places are designed, procured, and used.1 Using the constructive and gathering orientation of Bruno Latour’s actor network theory (ANT) as a framework for a multimodal inquiry, I investigate two case studies: the All Saints Grammar Junior School (All Saints) in Sydney, New South Wales (NSW) designed by Candalepas Associates and The Penleigh and Essendon Grammar Senior School (PEGS Senior) in Melbourne, Victoria (VIC), designed by McBride Charles Ryan (MCR). These two case studies have been identified through the architecture profession awards program as being exemplar buildings. However, in awarding these projects the architecture profession does not consider the complex relationships influencing their development or the experiences ‘on the ground’ of the children or teachers who use them daily. This thesis argues that successful learning places only emerge when the voices and experiences of children and teachers are actively heard by architects in the design and procurement process.

The context of this investigation is framed by education as a national priority in Australia. This national priority has revitalised focus of educationalists and researchers in enhancing the relationship between pedagogical bestpractice and well-designed spatial experiences, in this refocusing children have been repositioned as the active focus of educational developments rather than passive recipients. Architects in their practice have applied their professional capabilities to the design of schools. These design developments are a continuation of an existing tradition in Australia of architects applying their skills to the design of educational settings.

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Throughout this thesis, the terms ‘players’ and ‘actors’ are used interchangeably

An edited extract from this thesis, Considering Primary Schooling – Tactics for exploring a project, is currently inpress and will be published by Post Magazine in Issue 5 (expected release December 2013).

Aims of the thesis This thesis argues that best-practice design of successful learning places can only emerge when the voice and experiences of children and teachers are actively heard by architects in the design and procurement process.

Although they are the key players who use these learning places, children are silent voices throughout the design and procurement process. To some extent teachers are sometimes included in the preliminary design phases of their future workplace.

There are three aims of this thesis. Firstly to demonstrate an effective investigation model for capturing the experiences of the multiple players who contribute to the design, procurement and use of a learning place.

Secondly, to explore the influence of organisational structures and individuals on the design and procurement process affecting a child’s future learning place. Finally, this thesis aims to correlate a child’s experience in their learning place with that of an architecturally awarded building’s intentions and aspirations. Through exploring these aims I hope to contribute to the architectural profession’s understanding of excellence in the design of learning places for children.

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Structure of the thesis This thesis is structured in five chapters. The five chapters include: • Chapter 1 I Contextual Considerations - explores the national, research, and architectural context in which has influenced the formation of this thesis and its matter of concern • Chapter 2 I Conceptual Domain – considers published literature that applies to this investigation and has four sections: children and their experiences; educational and pedagogical approaches; the architecture profession and organisational structures; and approaches within architectural practice • Chapter 3 I Methodological Domain – the case study approach is used a strategy for investigating a matter of concern in action. Through a proposed investigative model a range of tools are proposed to document the experiences and perspectives of particular players and actors • Chapter 4 I Substantive Domain – the investigative model outlined in chapter 3 is applied to two schools as case studies. Through a process of synthesis this chapter outlines the experiences and perspectives of particular players and actors, and discusses what was heard • Chapter 5 I Conclusions – conclusion of the thesis and a consideration of possible future directions The following section of this introductory front matter establishes the research framework used to shape this thesis investigation. The chapter structure outlined above is an application of a research model that will be outline in the following section.

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Research Framework I A Matter of Concern Many investigations within the discipline of architecture follow existing qualitative and quantitative research frameworks however these frameworks often do not acknowledge the complexity of a phenomena being investigated. Existing qualitative and quantitative research frameworks seek to isolate and critically deconstruct a phenomena, object, people, or situation. It is generally accepted that through isolation of relevant data the researcher is able to ‘get closer to facts’.2 The conclusions from this method of isolation risk possible bias to overemphasise the impact of social forces or technological developments.3 The French theorist and sociologist of science Bruno Latour presents an alternative framework which does not treat a phenomena as ‘matters of fact’ but rather as ‘matters of concern’.4 Latour argues that phenomena are made as a simultaneous product of complex histories and the actors who contribute to them.5 At the core of this argument is the observation that any phenomenon is the product of human and non-human ‘materials’ that are simultaneously assembled into specific relationships, acting with purpose. These human and non-human materials are referred to as actors or players.

Latour’s perspective provides a framework to consider all possible players that have an influence on specific phenomena. The contextual setting of this inquiry makes it clear that there are many influences at a macro level which impact on schooling in Australia. This thesis seeks to explore the lived quality of a child’s learning places as its investigative ‘matter of concern’.

Research Framework I Actor Network Theory (ANT) The actor network theory (ANT) is a useful framework for making visible the interrelationships between many actors that impact the formation of a phenomenon. The ANT is an investigative framework that seeks to understand a phenomenon through its many trajectories, technologies, people, and contexts, rather than deconstructing the phenomenon to expose an understanding ‘the facts’.6 The social sciences have had specific applications for the term networks to describe technological relations, economic forms, political structures, and social processes.7 ANT bundles these applications together considering networks as a complex set of associations between social and technological concerns. At the core of the ANT is the emphasis on assembling heterogeneous 2 Bruno Latour, "Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern," Critical Inquiry 30, no. 2 (2004).

3 Reassembling the Social: An Introduction to Actor-Network-Theory (Oxford: Oxford University Press, 2005).

4 "Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern," 231.

5 "Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern," 234.

6 What Is the Style of Matters of Concern? Two Lectures in Empirical Philosophy (Assen: Department of Philosophy - University of Amsterdam, 2008), 29.

7 Jonathan Murdoch, "The Spaces of Actor-Network Theory," Geogorum 29, no. 4 (1998).

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networks that are then arranged into orders and hierarchies. Through this assemblage a researcher is able to navigate supposed dualism and account for cultural affinity between objects, events and places.8 For instance a Euclidian linear framework would consider the phenomenon of child’s experiences in a school setting during 2013 to be far removed, by time, from the decisions made by a school board in 2004. While the ANT framework would consider the earlier 2004 event to be of strong relation to the phenomenon examined in 2013. Jonathan Murdoch summarises the ANT as a “…stable sets of relations or associations as the means by which the world is both built and stratified.”9 This means that through documenting and mapping a project’s networks a researcher can understand how the project is built and ordered.

Understanding an actor networks can make explicit the particular arrangements within a project that affect specific actions. An actor network is characterised by two qualities. The first quality is that it is actor centred. While the second quality is that it is network focused and decentralised. This identified oxymoron reveals that actor-networks comprise of both webs and specific points which influence to development of a project.10 Murdoch identifies two types of networks in constant action that continuously fold into each other.11 The first type is a network of negotiation where relationships between actors are in flux and variation. The second type of network are those where an actor’s relationship is prescribed. Rigid and predictable forms of action occur in this second type of network. Organisations are networks comprised of individual stakeholders whose interactions give form and direction to the organisation.12 The network mapping and analysis facilitated by the ANT “provides a means for examining how the pattern of relationships in a stakeholder environment influence an organisation’s behaviour.”13 Organisations and the networks that provide their structure continually adjustments to a variety of influences through incremental and radical shifts.14 Schools and the practices of architects are two examples of organisations which, although possibly having some stable and static relationships, are never fixed or complete. Within architectural discourse social hierarchies, professional motivations and intra-professional structures which affect the design and production of a building have been discussed separately by Judith Blau and Garry Stevens.15 8 Latour, Reassembling the Social: An Introduction to Actor-Network-Theory.

9 Murdoch, "The Spaces of Actor-Network Theory," 359.

10 John Law, "Typology and the Naming of Complexity," Centre for Science Studies(2003), http://www.comp.lancs.ac.uk/sociology/papers/Law-Topology-andComplexity.pdf.

11 Murdoch, "The Spaces of Actor-Network Theory."

12 Timothy J Rowley, "Moving Beyond Dydaic Ties: A Network Theory of Stakeholder Influences," Academy of Management Review 22, no. 4 (1997).

13 Ibid.

14 Jennifer Whyte and Paula Cardellino, "Learning by Design: Visual Practices and Organizational Transformation in Schoos," Design Issues 26, no. 2 (2010).

15 Judith R Blau, Architects and Firms: A Sociological Perspective on Architectural Practice (Massachusetts: Massachusetts Institute of Technology, 1984); Garry Stevens, The Favored Circle: The Social Foundations of Architectural Distinction (Massachusetts: Massachusetts Institute of Technology, 1998).

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Their perspectives offer us insightful explanations as a profession in which routine actions and activities occur within predetermined hierarchies. The inquiries of this thesis document the evolution of a project to the time of investigation. This facilitates a broad inquiry that embraces many modes and tools to detect the actors present within continuously shifting networks.16

Research Framework I Application in Architecture If the purpose of research is to progress the knowledge base of a field, the progression of architecture as a discipline, profession and practice is through understanding specific situations. The framework adopted after Bruno Latour considers the many participants and actors which make up specific and real situations. Italian architect and theorist Vittorio Gregotti extend this thinking. Gregotti presents a particular way of thinking about the architectural project arguing that an architectural project should not be viewed as a combination of unrelated or uncritically interrogated fragments.17 Like Latour he suggests that ‘materials’ are assembled in a relationship with each other with purpose and place. Considering a project through this framework allows specific and the particular instances of phenomena to be brought to the fore, overturning a perceived homogenisation of architectural practice.18 Gregotti’s perspective compliments Latour’s argument for identifying, understanding, collating and ordering influences around a situation. Considering the project allows for “constant participation by sources of knowledge and ways of thought that differ from and sometimes oppose each other…”19 This includes the uncovering of hierarchies amongst identified participants and actors.20 This thinking has been applied to architectural designresearch investigations.21 In these investigations a researchers conclusions are strengthened by being intrinsically linked with their studied context. Gregotti’s notion of the project suggests that a projects evolution is not lineal.22 Similarly exploring a project in a deconstructive framework accepts simplistically the brief and techno-economic demands of a project rather than focusing on the specific conditions, or actors, which characterise the project.

16 Latour, "Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern," 246.

17 Vittorio Gregotti, Inside Architecture, trans. Peter Wong (London: MIT Press, 1996).

18 Ibid.

19 Inside Architecture, 21.

20 Inside Architecture, 1.

21 Colin Ripley, Geoffrey Thun, and Kathy Velikov, "Matters of Concern," Journal of Architectural Education 62, no. 4 (2009): 6.

22 Kenneth Frampton, "Forward," in Inside Architecture (London: MIT Press, 1996).

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CONCEPTUAL DOMAIN

MATTER OF CONCERN

METHODOLOGICAL DOMAIN

SUBSTANTIVE DOMAIN

Figure 1 I Generic research model adapted from David Brinberg and Joseph McGrath, and Bruno Latour’s Matter of Concern

Research Model Triangulation, as a technique to ensure methodology and data rigour are applicable to the distinct components of this thesis. Triangulation of research orientations can be used to ensure validity in the design of a research investigation.23 Brinberg and McGrath suggest research occurrs within three domains: the conceptual, the methodological, and the substantive.24 These three domains are independent of each other and also intrinsically linked by their relationship with a research investigations focus. 25 This model and the relationship between these domains is illustrated in figure 1. This thesis has been structured using this model and its three domains because each domain acknowledges the specific and independent concerns which make it up. I also consider this model to be one applied approach to realising Latour’s process of assembly considering all perspectives as having an impact on a concern being investigated regardless of their originating domain.

For this thesis the three domains are defined as follows:26 Conceptual Domain - explores the published ideas and concepts which are interrelated with the

stated matter of concern Methodological Domain - considers the frameworks, strategies, models and tools for examining a

stated matter of concern Substantive Domain – examines a specific context and grounded situation by synthesising

gathered data and results, and discussion the implications This model is also useful because it does not necessitate a vertical hierarchy of inquiry. A vertical hierarchy of inquiry would be where the analysis of results occurs through a predetermined conceptual framework. Instead this model allows each individual domain and its many facets to be explored. When these domains are positioned next to each other they allow for a full understanding of a central concern to be understood. The research model of Brinberg and McGrath builds these domains of inquiry into an active feedback loop. Importantly for this thesis the domains allow for conceptual, methodological and substantive understandings of a child’s embodied experience 23 David Brinberg and Joesph McGrath, Validity and the Research Process (California: SAGE Publications, 1985).

24 Ibid.

25 Validity and the Research Process, 14.

26 Zoe Strickler, "Elicitation Methods in Experimental Design Research," Design Issues 15, no. 2 (1999); Brinberg and McGrath, Validity and the Research Process.

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Children & their Experiences

Design Concerns User Focused Places

Education Theory & Pedagogical Approaches

CONCEPTUAL DOMAIN

fic eci Sp s

l Too

MATTER OF CONCERN METHODOLOGICAL DOMAIN

PEGS Senior School East Keilor Vict oria

dy Stu se ach Ca ppro A

Mult

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nqui

al I imod

SUBSTANTIVE DOMAIN

or ni les u J a ar W m th m u ra o G wS ts in Ne a e l S or Al elm B

Figure 2 I Applied research model

in a learning place; the pedagogical concepts embodied in a learning places design; and the perspectives of those who contribute to the projects delivery and use to be understood in isolation and in relation to each other. The application of this research model to this thesis and the broad focus of these interrelated domains is illustrated in figure 2.

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My School I Athan

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Contextual Considerations I CHAPTER 1

Overview This chapter explores the national, research, and architectural context in which has influenced the formation of this thesis and the experience of children as its matter of concern. The five sections to this chapter include: • • • • •

Section 1 I National Priorities Section 2 I Current Research Section 3 I Children as Key Players Section 4 I School Design in Australia Section 5 I Architecture Awards

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National Priorities I Section 1

In Australia there has been an increased interest in the delivery of education and the development of learning places. Education is a key concern of the nation as government and private enterprise emphasise the link between an educated population and the growth of a strong economy.27 Australia for many years has been promoted as the lucky country. However the performance of Australian children in international education benchmarking studies has fallen against those countries we ideologically view as equals.28 There has been a concerted effort to reinforce Australia’s position as an educated and competitive country and by extension a smarter, better, and stronger country. Changing this image the government and private sector suggest that Australia is embracing an ideas driven innovative future. According to Australia’s constitution, education is a responsibility of the states and territories. In light of the perceived national importance of education figure 3 shows a recent timeline of Commonwealth Government educational decisions, which is illustrative of a federal intervention over state educational authorities. One of these concerns has been with the spatial experience of learning places. The Commonwealth Government brought this concern to the fore in 2009 with the AUD$16.2 billion stimulus package: Building the Education Revolution (BER). Figure 4 The BER, marketed as a nation building project, was funded federally but administered through state and territory departments and nongovernment school bodies. It is claimed that every child in Australia has had the benefit of experiencing a BER project. Whilst education is an identified responsibility of the government, there has also been significant investment in education and schooling from sources independent of the government through religious organisations, independent community groups and more recently individuals. Many independent schools have also considered the importance of their education facilities and pursued their own building programs.

27 The link between education and economic performance is emphasised in the rhetoric of most politicians. The link between a highly educated work force and a strong economy has been emphasised by the Australian Productivity Commission. Its report into the education and training workforce emphasises the development of human capital through school education as we shift towards a knowledge economy. Mike Woods et al., "Schools Workforce - Productivity Commission Research Report," (Canberra: Australian Productivity Comission 2012).

28 There was aspirational rhetoric from the former Australian Prime Minister Julia Gillard and her immediate predecessor/successor Kevin Rudd. This rhetoric affirmed that for economic reasons it is important for Australia to develop one of the world’s top five schooling systems. However in two recent studies, Trends in International Mathematics and Science Study (TIMSS) and the Progress in International Reading Literacy Study (PIRLS), conducted by the International Association for the Evaluation of Educational Achievement (IEA), Australia was ranked 27th and 17th respectively compared to a studied field of 48 and 52 countries respectively. Sue Thomson et al., "Highlights from Timss & Pirls 2011 from Australia's Perspective," (2012).

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Commonwealth government intention to implament Gonski reforms MyUniversity website created

2012

2010

2009

My School website created ‘Review of Funding for Schooling’ chaired by David Gonski commenced Building the Education Revolution stimulus package National Curriculum Board established ‘NAPLAN’ testing introduced

2008

2007

Higher Education Endowment Fund established by Comonwealth Government ‘Root-to-branch’ renewal of Australian History curriculum

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Figure 3 I above top Timeline 12 illustrating recent political decisions and policies affected by the Australian Commonwealth Government Figure 4 I above Then Prime Minister Julia Gillard and Education Minister Peter Garret discuss David Gonski’s proposed reforms (Image: Alex Ellinghausen)

Current Research I Section 2

Within Australia the refocusing on the education of Australian children as a national priority has given a foundation for educationalists and researchers to crucially examine how learning is delivered.

In response to this national priority between 2007-2010 the University of Melbourne received an ARC Linkage Grant for the topic: Smart Green Schools – Educational and Environmental Outcomes of Innovation in School Building Design. The University of Melbourne continued to focus on enhancing the relationship between pedagogical best practice and well-designed spatial experiences through the 2009-2012 Australian Research Council Linkage Project grant: Future Proofing Schools: Using Smart Green Integrated Design Approaches to Prefabricated Learning Environments. A second Australia Research Council Discovery Project grant was awarded between 2011-2013 addressing the historic formation of learning places in Australia under the topic: Designing Australian Schools: A Spatial History of Innovation, Pedagogy and Social Change.

These research projects are in direct response to the broad national agenda of delivering the best possible education for Australian children. This national priority and revitalised research agenda has also informed general architectural discourse over the past decade. General architecture media outlets in Australia and in the international market have explored the potential of the education facilities as a typology and documented current developments.29 International awards programs have evolved to separate education and learning places as a design category in their own right. In the last decade the learning places of our children has been a continual discussion within academia and a continued field of practice for the architecture profession.

13 29 Some recent general architecture magazine and book publications with education facilities as their focus have included: Catherine Slessor, ed. Special Issue: Evolution of School Design, vol. CCXXXI, The Architecture Review (London: EMAP Publishing, 2012); Clare Newton and Kenn Fisher, eds., Take 8: Learning Spaces: The Transformation of Educational Spaces for the 21st Century (Manuka, ACT: Australian Institute of Architects, 2009); Mark Dudek, Schools and Kindergartens: A Design Manual (Basel: Birkhäuser, 2007); Maitiú Ward, ed. Community Building, Architectural Review Australia (Melbourne: Niche Media, 2011); Christian Schittich, ed. Concept Building for Children, vol. 3, Detail: English Edition (Munich, Germany: GmbH & Co., 2013).

Children as Key Players I Section 3

Children as the key participants in the schooling process have their own experiences and opinions about their surrounding world. Within an education setting a child needs different support mechanisms for the various stages of their development. These support mechanisms are as much social and verbal as they are spatial.

It is suggested that often students and teachers, the key participants and users of a learning place, are silent about their aspirations, needs and use of their learning settings. Without exposing and recognising the unique perspective of children, designers can possibly develop a disconnect between their ‘ideal’ user and the reality of a situation. For a designed place to be successful it needs to be embraced, used, and owned by its users. Silences that can exist between designers and users, or users and their settings, are a missed opportunity to strengthen the individual’s developing identity within their physical place.

Educational practice increasingly involves a growing field of interconnected participants. This interconnected web includes educationalists, parents, teachers, role models, academics, politicians, architects, planners, and doctors. Each voice makes a specific contribution to the education of children. As this web has expanded there is a risk that some participants can become disconnected from the focus of education, children, and with the best of intentions make decisions that may not be connected with the reality of schooling.30 As the focus of educational practice children, as unique individuals, need to remain at the fore of inquiries and future developments.

14 30 Pam Woolner et al., "Getting Together to Improve the School Environment: User Consultation, Participatory Design and Student Voice," Improving Schools 10, no. 3 (2007); Whyte and Cardellino, "Learning by Design: Visual Practices and Organizational Transformation in Schoos."

School Design in Australia I Section 4

The early Australian buildings built for schools started a long tradition of template design. Formal education, as legislated by Commonwealth Government, has been delivered in Australia since 1880, whilst records in NSW show that the first government funded school opened in 1848 in Kempsey.31 Some of the early school buildings in NSW were designed by Francis Greenway and William Kemp.32 Figure 5 Design of school buildings in these early examples were not focused on the quality of the teaching space but rather their formal qualities as often these schools were template designed.33 Template designs were used in response to the need to accommodate all children requiring education. The template design approach has remained a mode of delivery for many school building projects for state education departments. The BER, as delivered by state government education departments, is a recent example where this approach was used.

In the post-war Australia, the design of schools shifted away from statements of institutional power reflecting changes in material manufacturing procedures and education specific design trends observed in America and the United Kingdom. Within state government public works departments the design of schools changed, not in response to evolving educational thinking, but rather to reflect changes in manufacturing methods.34 That is not to say that there were no experimental approaches to education occurring within Australian schooling and its associated infrastructure. The New Education movement in Australia developed from an international conference hosted in 1937 in Melbourne, the New Education Fellowship Conference.35 Prior to this conference the Quest Haven School was opened in Mona Vale NSW and teaching commenced in 1935.36 However, this school occupied an existing 1890s beachfront complex and the facilities were not a product of the schools’ pedagogical perspectives. The Koornong School VIC built in 1939, was a new construction and a collaboration between the school principal-clients Clive and Janet Nield and the architects Best Overend and Fritz Janeba.37 Figure 6 Schools beyond the administration of individual state education departments, that were privately run, appeared 31 The Public Instruction Act of 1880, established by the Parkes Government which first took office in 1878, developed a national system of free, compulsory primary school education.

32 Francis Greenway designed in 1820 the St James Church of England primary School on Castlereagh and Elizabeth Street. This site was then occupied by the Sydney Boys and Girls High school in 1883.

The buildings designed by William Kemp between 1880-1896 have been discussed at length by Kirsten Orr: Kirsten Orr, "W. E. Kemp's School Buildings, 1880–1896," Fabrications 19, no. 1 (2009); "Empire, Education and Nationalism," Fabrications 20, no. 2 (2011); Kirsten Orr, "The Public Face of Elementary Education in New South Whales," in Audience: 28th Annual Conference of the Society of Architectural Historians, Australia and New Zealand, ed. Antony Moulis and Deborah van der Plaat (Brisbane: Society of Architectural Historians Australia and New Zealand, 2011).

33 Orr, "W. E. Kemp's School Buildings, 1880–1896," 6.

34 Russell Jack, "The Work of the Nsw Government Architect's Branch: 1958-1973" (University of New South Wales, 1980), 87-88, 101.

35 Philip Goad, "‘A Chrome Yellow Blackboard with Blue Chalk’: New Education and the New Architecture: Modernism at Koornong School," History of Education

39, no. 6 (2010): 733.

36 "‘A Chrome Yellow Blackboard with Blue Chalk’: New Education and the New Architecture: Modernism at Koornong School," History of Education 39, no. 6

(2010): 736.

37 "‘A Chrome Yellow Blackboard with Blue Chalk’: New Education and the New Architecture: Modernism at Koornong School."

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Figure 5 I far left William Kemp, suggested plan for a school (Image: Edward Robson) Figure 6 I left Koornong School, Victoria. Students in the outside ‘school court’ (Image: Unknown, Nield Archive)

Figure 7 I far left Victorian Public Works Department, Type 800 High School Plan (Image: Architecture Today) Figure 8 I left NSW Government Architects Branch. Model of suqare donut school (Image: Max Dupain)

historically to be more concerned with different types of pedagogical practice than the standardised template of sate schools.

Designs developed by various state departments of public works embracing prefabrication techniques to accommodate every child requiring education Australia. Prefabrication techniques were embraced as they resolved issues such as the speed of a schools construction. 38 New schools, such as Balwyn North Primary School designed by the Victorian Public Works Department lead by Percy Everett at the time, were often built on suburban sites and replicated many residential construction techniques.39 Aesthetics aside, school building organisational layouts were where the most development occurred within Australian school designs. The influence of Richard Neutra’s Ring Plan School concept, and the design of the Crow Island School in Winnetka, Illinois by Perkins and Will, with Eliel and Eero Saarinen may have influenced the work of Percy Everett in the Victorian Public Works Department. Everett designed using a hexagonal classroom module.40 Figure 7 This plan type was referred to as the ‘type 800’ high school.41 Experiments in the United States of America by Ernest Kump who designed a finger plan campus model were adapted to the Australian setting. Normanhurst Boys High School designed by the NSW Government Architect’s office is one example of this.42 In NSW another experimental plan type was the square donut and interlocking quadrangle model. Michael Dysart and the NSW Government Architect’s Branch developed this design.43 Figure 8 This plan was not driven by changing approaches in pedagogy rather the design was concern with economic construction, maximising the use of available land, and design concerns such as leaving materials in their natural finish.44 This context is relevant to the two case studies investigated in this thesis because both architects are working in a long tradition of Australian designs for learning places. Their designs and the tools they draw are part of a well established tradition. This historic overview reminds us that Australia does not have a historically strong foundation in designing innovative learning places. Rather the designs developed by state departments of public works were influenced local concerns for the symbolic civic qualities of school buildings or by the generation of ideas tested overseas.

38 Jack, "The Work of the Nsw Government Architect's Branch: 1958-1973," 85-88.

39 "The Work of the Nsw Government Architect's Branch: 1958-1973."

40 "'Type 800' High School," Architecture Today 1967.

41 Ibid.

42 "The Work of the Nsw Government Architect's Branch: 1958-1973," 85.

43 "The Work of the Nsw Government Architect's Branch: 1958-1973," 93-101.

44 “The Work of the Nsw Government Architect’s Branch: 1958-1973.”

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Architecture Awards I Section 5

Architectural awards act as a filter to identify what is perceived by the profession, to be an exemplar projects.

There are many organisations which award buildings, their designers and clients. One such organisation which awards the buildings of its members is the Australian Institute of Architects (AIA). Each chapter of the AIA has an award program so that buildings built by chapter members can be collectively recognised and excellence within the profession promoted to the wider non-architecture community.45 The chapter award program, first starting in Victoria in 1929 followed by New South Wales in 1932, proceeded a national awards program coordinated by the AIA since 1981.46 Figure 9 The discourse around awarded buildings has been contextualised in Australia by architectural historian Neville Quarry who discusses the AIA’s national awards program. Quarry identifies the professional agenda of these awards where he claims that they play a role for architects to review and recognise the works of their peers. In awarding a building, the praise is directed at the employed architect.47 This gives them “a chance to show off, enjoy a bit of ego-boosting and vindicate their own endeavors.”48 Whilst the AIA does provide a ‘judging criteria’ for award juries Quarry claims that the provided criteria for award is in fact more like topics to guide the jury’s discussion.49 Figure 10 shows an excerpt outlining judging criteria. Decisions are generally made based on “ingrained professional judgment.”50 Former jury members have observed the individual emphasis and bias of each jury.51 Building Awards are used by architects as a tool for marketing and self-promotion. Historian Paul Hogben frames architectural awards as a way of creating symbolic capital which allows “architects to consecrate their products as acts of intellectual, aesthetic or technical achievement.”52 Furthermore awards serve the specific function of professional legitimisation.53 The architecture profession has expanded its definition of excellence to promote a wider range of current professional concerns, this saw the addition of the environment category in 1968 to the AIA’s award program.54 This understanding is important for this thesis as it highlights the link between existing understandings of architecture as a professional activity and the characterisation of architectural buildings as artistic creations removed from the client/user constraints.

45 Philip Goad, ed. Judging Architecture: Issues, Divisions, Triumphs Victorian Architecture Awards 1929-2003 (Melbourne, Victoria: Royal Australian Institute of Architects 2003).

46 Australian Institute of Architects, "Raia Policy Book - Awards, Prizes and Honours," (Australian Institute of Architects, 2007).

47 Neville Quarry, Award Winning Australian Architecture (Sydney: Craftsman House, 1997).

48 Award Winning Australian Architecture (Sydney: Craftsman House, 1997), 7.

49 Australian Institute of Architects, "2013 Architecture Awards Entry Handbook," (Australian Institute of Architects, 2012), 33.

50 Quarry, Award Winning Australian Architecture, 9.

51 David Marr, "Grand Designs," The Sydney Morning Herald, June 22-24 2012.

52 Paul Hogben, "Marketing Fever," Fabrications 11, no. 1 (2000): 86.

53 "Marketing Fever," Fabrications 11, no. 1 (2000): 80.

54 Goad, Judging Architecture: Issues, Divisions, Triumphs Victorian Architecture Awards 1929-2003, 37.

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7.2 Core Criteria

It is essential that your entry recognises that judging will be based on the following core criteria and that these are addressed within the project description text provided as part of your entry: Conceptual framework: Underlying principles: Values; Core ideas; Philosophy Public and Cultural Benefits: The amenity and concepts contributing to the public domain Relationship of Built Form to Context: Concepts engaged with new and pre-existing conditions Program Resolution: Functional performance assessed agaist the brief Integration of Allied Disciplines: Contribution of others, including engineers, landscape architects, artists and other specialists to the outcome Cost/Value Outcome: The effectiveness of decisions related to financial issues Sustainability: The benefit to the environment through design Response to Client and User needs: Additional benefits interpreted from the brief, serving the client or users and the community

Figure 9 I The Sulman Award for Public Architecture, established in 1932, is awarded annually by the Australian Institute of Architects NSW Chapter (Image: ArchitectureInsights)

Figure 10 I far left Extract from the AIA Architecture Awards Entry Handbook outlining the criteria used for judging.

Source: Australian Institute of Architects, “2013 Architecture Awards Entry Handbook,�

(Australian Institute of Architects, 2012), 33.

Figure 11 I left Industry linked awards with stated aims of promoting material products (Image: ThinkBrick)

In the AIA’s award program education facilities are considered for award within the public architecture category based on their Australian Standard classification.55 Beyond the AIA there are other awards programs for highlighting exemplar designs for learning places such as the award program by the Council of Educational and Facilities Planners International (CEFPI). The CEFPI, originated in the United States of America and is an international network, grouped into geographic regions of architects, facility planners, school administrators, policymakers and engineers. An Australia specific awards program has existed since 2008. This program, like the AIA’s awards program, is only open to members and identifies three main categories of projects effectiveness in planning, design, and construction of educational facilities. State Governments have also offered awards to learning places. For instance, the Victorian Government ran the School Design Awards from 2006 – 2010. Further to this construction material suppliers and their representative organisations hold awards with the purpose of rewarding “innovation and craftsmanship” in the building process.56 Figure 11 The award categories are residential or commercial, schools are considered in the commercial category.

Award programs are used to promote an organisation’s definition of excellence. In the case of the AIA, the key representative organisation of Australia’s architecture profession, these awards draw on the professional status that architecture receives to legitimise and emphaise their decisions. However, whilst industry linked awards may be transparent about their aims of promoting the use of a material or product, the architecture profession, through the AIA, is often silent in their aim of self promotion. In light of the privileged and authoritative status of architecture awards the profession needs to be mindful of what it highlights as exemplar projects.

18 55 56

Architects, "2013 Architecture Awards Entry Handbook," 27.

Australia Think Brick, "Horbury Hunt Commercial Award Brief," (Think Brick Australia, 2013).

My School I Leon

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Conceptual Domain I CHAPTER 2

Overview The following conceptual domain explores the published literature that has informed this thesis. This domain follows the research model outlined by Brinberg and McGrath. Figure 12 This chapter has four sections that use published literature to developing an understanding of a child’s experience, the pedagogical formation of their learning places, and architecture as a profession and practice. These four sections are: • • • •

Section 1 I Children and their experiences Section 2 I Educational theory and pedagogical approaches Section 3 I Design Concerns Section 4 I Chapter Reflection

Children & their Experiences

Each topic and its associated literature are discussed in turn.

Design Concerns User Focused Places

Education Theory & Pedagogical Approaches

CONCEPTUAL DOMAIN

MATTER OF CONCERN

METHODOLOGICAL DOMAIN

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SUBSTANTIVE DOMAIN

Figure 12 I Applied research model, conceptual domain

Children and their Experiences I Section 1

Overview The following section considers that children have clearly developed experiences that can be articulated and that impact on their physical, mental, social, spatial, and personal development. A child’s surrounding settings have an affect on their long-term cognitive and emotional development as well as their sense of identity.57 A child makes sense of their settings and surrounding places and develops an identity through these lived experiences.58 In Australia the daily lives of many children revolve around a home-school-home sequence.59 This section will consider: • Children I Forming spatial relationships from particular experiences - How children experience and comprehend their surrounding settings and how they communicate these experiences • Children I Using Affordances and the Bullerby model to conceive places - the theory of affordances and the Bullerby Model are discussed as conceptual approaches which underpin how places for children can be conceived • Children I Affordances within the design process - Alternative interpretations of affordances that considers consultation during the design phase of a project

Children I Forming spatial relationships from particular experiences The social and spatial relationships in a child’s every day life are key determinants of their experience of a place.60 Biological scientist Antonella Rissotto and environmental psychologist Vittoria Giulian discuss a child’s developing spatial cognition, emphasising that children test boundaries and establish rules from their experiences in the process of understanding the “customs of places”.61 Rissotto and Giulian argue that children have developed

57 Sandra Horne Martin, "The Classroom Environment and Children's Performance - Is There a Relationship?," in Children and Their Environments, ed.

Christopher Spencer and Mark Blades (Cambridge: Cambridge University Press, 2006). Christopher Spencer and Mark Blades, eds., Children and Their Environments (Cambridge: Cambridge University Press, 2006), 6.

58 Children and Their Environments, 3.

59 Antonella Rissotto and M. Vittoria Giulian, "Learning Neighbourhood Environments the Loss of Experience in a Modern World," in Children and Their Environments, ed. Christopher Spencer and Mark Blades (Cambridge: Cambridge University Press, 2006); Antonella Rissotto and Francesco Tonucci, "Freedom of Movement and Environmental Knowledge in Elementary School Children," Journal of Environmental Psychology 22, no. 1–2 (2002); Aslak Fyhri and Randi Hjorthol, "Children’s Independent Mobility to School, Friends and Leisure Activities," Journal of Transport Geography 17, no. 5 (2009); Aslak Fyhri et al., "Children's Active Travel and Independent Mobility in Four Countries: Development, Social Contributing Trends and Measures," Transport Policy 18, no. 5 (2011).

60 Rissotto and Giulian, "Learning Neighbourhood Environments the Loss of Experience in a Modern World."

61 "Learning Neighbourhood Environments the Loss of Experience in a Modern World," 75.

21

Figure 13 I Chilren use landmarks in their drawings to communicate their experiences of their homeschool-home journeys (Image: Rissotto and Giuliani)

observations of their surrounding settings based on their independent experiences.62 When a setting supports the free mobility of a child, the experienced independence contributes to the developing spatial cognition of the child. “Actively moving though the environment brings the individual into contact with the multiple perspectives of the space, facilitating the integration of views and the co-ordination of precepts with motor experiences.”63 If a child’s mobility is restricted, as Rissotto and Giulian suggest, then it logically has an effect on how they know their environment. That independent experiences impact on a child’s development is also discussed by Tori Derr. Derr affirms the argument established by previous studies that children do form an independent experience of place and may not share the same response as another child in the same place.64 She supports the argument that a child’s experience of place contributes to a development of identity. 65 “Children use exploration to expand their view of the world, to test boundaries, and sometimes to incorporate these spatial experiences into their sense of identify.”66 Children have developed abilities to communicate their spatial cognition. Studies have used drawing exercises with children to produce diagrams or maps of the routes that they take to school.67 Figure 13 In the analysis of these drawings the role of place-markers and landmarks demonstrates the specifics of how a child experiences and comprehends their surrounding world. This study also considers the home-school-home relationship that many children have, spending the most time in their growing lives either at home or at school. A study by Rissotto and Tonucci explores the observations that children make along this journey, but does not focus on the observations that children make at their destination.68 This literature suggests that how children navigate around their world impacts their experiences of a place. This literature is also useful in understanding that children use landmarks and place-markers to order their experiences in inhabiting a specific place.

62 Tori Derr, "'Sometimes Birds Sound Like Fish': Perspectives on Children's Place Experiences," ibid. Antonella Rissotto and M. Vittoria Giulian, "Learning Neighbourhood Environments the Loss of Experience in a Modern World," ibid; Rissotto and Tonucci, "Freedom of Movement and Environmental Knowledge in Elementary School Children."

63 Rissotto and Giulian, "Learning Neighbourhood Environments the Loss of Experience in a Modern World," 78.

64 Tori Derr, "'Sometimes Birds Sound Like Fish': Perspectives on Children's Place Experiences," ibid; Sarah Holloway and Gill Valentine, "Children's Geographis and the New Social Studies of Childood," in Children's Geographies: Playing, Living, Learning, ed. Sarah Holloway and Gill Valentine (London: Routledge Press, 2000); Samantha Punch, "Children's Strategies for Creative Playspaces: Negotiating Independence in Rural Bolivia," ibid.

65 Derr, "'Sometimes Birds Sound Like Fish': Perspectives on Children's Place Experiences."

66 "'Sometimes Birds Sound Like Fish': Perspectives on Children's Place Experiences," 110.

67 Rissotto and Tonucci, "Freedom of Movement and Environmental Knowledge in Elementary School Children." For further investigations into children’s representations of their local landscape see Roger Hart, "Children's Spatial Representation of the Landscape: Lessons and Questions from a Field Study," in Spatial Representation and Behavior across the Life Span, ed. Lynn Liben, Arthur Patterson, and Nora Newcombe (New York: Academic Press, 1981).

68 Rissotto and Tonucci, "Freedom of Movement and Environmental Knowledge in Elementary School Children."

22

Territorial range and mobility licenses are two conceptualisations of how freedom is afforded to children as they explore and direct their own experiences of their surrounding world. The concept of territorial range is defined as the geographic distance from a fixed and known point from which a child is allowed to wander, play, and socialise.69 The second related concept, mobility licenses, has been defined by Marketta Kyttä as the rules set by parents or guardians to give independence to a child’s movements within defined boundaries. A school is a defined ‘safe place’, where beyond the structure of formalised teaching children often have a territorial range that may include the whole playground. In the non-structured periods of time, such as recess and lunch, children play and explore under the remote supervision of a teacher. In reality, children are continuously supervised at school, however, it is not always directive supervision structuring their activities. An interest arises with the possibility that children may perceive landmarks within their school environments and by extension develop paths and routes that have particular meaning to them. An understanding of this will give an idea as to how children use their learning places and their school environments in a day-to-day manner.

Children I Using Affordances and the Bullerby model to conceive places The theory of affordances is concerned with how individuals develop associations and experiences in the framework of their surrounding world. This section will explore the Bullerby Model as a framework for considering how children interact with their surrounding places. Above I argued that children have nuanced and particular experiences about their surrounding built world that they can express. Children develop highly articulated associations with particular areas and these areas become places in which they perform meaningful activities. The Bullerby Model, developed by Marketta Kyttä, is concerned with defining spatial child-friendliness and encouraging the transition of design and planning thinking to be conscious of children.70 This model draws on the theory of affordances as established by James Gibson.71 Although this thesis is not framed around ascertaining the childfriendliness of a place, Kyttä’s model provides an interesting framework for considering how children experience 69 Marketta Kyttä, "Environmental Child-Friendliness in the Light of the Bullerby Model," in Children and Their Environments, ed. Christopher Spencer and Mark Blades (Cambridge: Cambridge University Press, 2006), 142.

70 "Environmental Child-Friendliness in the Light of the Bullerby Model," in Children and Their Environments, ed. Christopher Spencer and Mark Blades (Cambridge: Cambridge University Press, 2006), 153.

71 James Gibson, The Ecological Approach to Visual Perception, ed. Robert Shaw, William Mace, and Michael Turvey, Resources for Ecological Psychology (Hillsdale, New Jersey: Lawrence Erlbaum Associates Publishers, 1986).

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All Potential Affordances Free Action Promoted Action Restricted Action Figure 14 I The Bullerby Model and the relation between affordance types

All Potential Affordances Free Action Promoted Action Restricted Action Unrealised Affordances

Figure 15 I The Bullerby Model illustrating area of maxamised potential affordances

and engage with the places within which they dwell. Kyttä argues that places affording opportunities for children need to: …provide something that the individual can perceive as offering the potential for activity, but the perception emerges only when the different characteristics of the individual, such as his or her physical dimensions and abilities, social needs, personal intentions, are matched with the environmental features.72 Kyttä argues that an affordance is understood in varying stages and is not a singular ‘either/or’ phenomenon.

She proposes the concept of ‘actualised affordances’. These affordances are those that “the individual perceives, utilises or shapes”.73 This engagement with an affordance can be active or passive. In analysing the settings used by children, three fields of action are identified which combine to represent all potential affordances for a child in a given situation. This model is depicted in Figure 14. There are thee types of affordances identified in the Bullerby model; the first of these affordances is contained in a field of promoted actions, which are “culturally defined and socially approved affordances”.74 Promoted affordances are often regulated by time, place and manner of use.

The classroom setting is a place of promoted affordances and actions, as a teacher uses the building structure to actively direct teaching activities. The second type of affordances is the field of free action. This affordance features possibilities for a child to interact with their particular setting in a manner which is not actively encouraged but rather discovered. The third type of affordances identified is the field of constrained action. This affordance actively restricts the possible actions of a child. These fields overlap and are experienced simultaneously as children use a particular setting. The concept of promoted actions and free actions is potentially significant when understanding how children use and experience their learning places. Further to this this model emerges the interesting question as to what free affordances a child may discover within the structure of their learning place.

Figure 15 As previously discussed, a child’s mobility within the ‘safe’ school environment is, beyond structured events, relatively free. The extent to which children are afforded the opportunity to (and even encouraged to) engage with their learning settings is a significant part of how children experience learning places.

72 73 74

Kyttä, "Environmental Child-Friendliness in the Light of the Bullerby Model," 145.

Ibid.

"Environmental Child-Friendliness in the Light of the Bullerby Model," 146.

24

Children I Affordances within the design process Affordances also offer a framework for considering the connection between a project’s aspirations and realisation.

The concept of affordances can be considered a tool for exploring the connection between the aspirations and a building’s actual use.75 Affordances are discussed in specific relation to architecture and design by Jonathan Maier, Georges Fadel and Dina Battisto.76 These authors claim that both designed and non-designed places indicate, by their ‘structure’, how a place should be used.77 The structure of a place refers to its composition and assembly. Affordances should be built into the design and not created through text instructions. Extending this, they emphasise how affordances are important in the planning phase of a project’s development. They further discuss how to address the formal identification of actions that the designers and commissioning clients do not want the design to afford. In consideration of the framework established in the Bullerby model, by identifying the actions that a client wants to discourage, and designing accordingly, the domain of restricted action is reduced.

25 75 Jonathan Maier, Georges Fadel, and Dina Battisto, "The Affordance-Based Approach to Architectural Theory, Design, and Practice," Design Studies 30, no. 4 (2009): 394.

76 "The Affordance-Based Approach to Architectural Theory, Design, and Practice," Design Studies 30, no. 4 (2009).

77 "The Affordance-Based Approach to Architectural Theory, Design, and Practice," 405-06.

Educational Theories & Pedagogical Approaches I Section 2

Overview The discipline of education is an independent field of discourse, broad and complex in its own right. In some architectural discussions relating to schools and learning places there is an argument that it is not the role of an architect to engage with the shifting trends of educational discourse. Rather, architects should design the scaffold supporting the constant and shifting changes endured by educational organisations and their players.78 However, as outlined in this thesis’ contextual considerations, there has been a revitalised focus of educationalists and researchers in Australia on enhancing the relationship between pedagogical best-practice and well-designed spatial experiences. Understanding the developments which have occurred both in the discipline of architecture and education could allow for the flow and activation of information and research concerning pedagogical bestpractice to be understood and acted upon by architects. This section will consider: • Education I Theory • Education I Pedagogy and design

Education I Theory The theory of multiple intelligences is significant in refocusing the discourse of educational theory.79 This theory emerged as a reaction to the assumption that intelligence was a standardised universal capacity of every human being.80 However, in Frames of Mind: The Theory of Multiple Intelligences, Howard Garner argues, that human cognition encompasses a broader range of competencies than educational practices had previously considered.81 Gardner’s investigations identified seven intelligence types: the linguistic and logical-mathematical intelligences, musical intelligence, spatial intelligence, bodily-kinesthetic intelligence, and two forms of personal intelligence.82 This theory is significant as it recognises the inherent individuality of human beings. The theory, and its impacts, 78 Abram de Swaan, The Schools of Herman Hertzberger (Rotterdam: 010 Publishers, 2007), 9.

79 Howard Gardner, Frames of Mind: The Theory of Multiple Intelligences, 10 ed. (New York: Basic Books, 1993; repr., 1993); Intelligence Reframed: Multiple Intelligences for the 21st Century (New York: BasicBooks, 1999).

80 Frames of Mind: The Theory of Multiple Intelligences, x.

81 Ibid.

82 Frames of Mind: The Theory of Multiple Intelligences, 73-276.

26

seeks to shape teaching practice in best assisting children and young people to grow and develop.83 The theory of multiple intelligences has been adopted by the UNESCO which propose a four pillars approach to teaching and learning.84 Jacques Delors developed an approach for UNESCO which applied the theory of multiple intelligences with more recent theoretical developments.85 It is described as “learning to be, learning to do, learning to know and learning to live together.” 86 The report is significant to note because it has been adopted by a number of primary schools in New South Wales by the Department of Education and Training (NSW DET).87 This approach gives form to the aspirations of multiple intelligences and suggests an approach to be applied to educational practice. This approach embraces educational pedagogies that focus on the scaffolding and transfer of knowledge; the encouragement of holistic learning of children; and the teaching to multiple intelligences. This approach positions children as active learners who are exposed to a range of communication types and learn through a variety of supported teaching strategies.88

Education I Pedagogy and Design The revitalised attention on delivering educational best-practice in Australian schooling has sought to link the physical possibilities of a learning place with the pedagogical and curriculum directions of a teacher and school.

Within an Australian setting much research has been completed concerned with the quality of a child’s spatial settings at schools.89 Within much of the reviewed literature pedagogy is a frequently used (but seldom defined) word. Researcher Clare Newton and educationalist Kenn Fisher define pedagogy as “the art or profession of teaching based on principles and practice.” 90 The ‘practice’ component of this is discussed by educationalist Lennie ScottWebber and promoted by Kenn Fisher who identifies specific learning modes, such as: project-based, teamcollaborative, individual learning, student as researcher, self directed, integrated and thematic curriculum, and 83 However in some places there are those who still argue that in practice our formal education systems still favour the linguistic and logical-mathematical modes of intelligence as the expense of developing the other facets of an individual. Ken Robinson, Out of Our Minds: Learning to Be Creative (West Sussex: Capstone Publishing, 2011).

84 Jacques Delors, Learning: The Treasure Within, (Paris: UNESCO, 1996), http://www.unesco.org/delors/delors_e.pdf.

85 Ibid.

86 Ibid.

87 Carlene Winch-Dummett, "Successful Pedagogies for an Australian Multicultural Classroom," International Education Journal 7, no. 5 (2006).

88 "Successful Pedagogies for an Australian Multicultural Classroom," International Education Journal 7, no. 5 (2006): 779.

89 For discussion on specific research projects in Australia, refer to chapter 1, section 2.

90 Newton and Fisher, Take 8: Learning Spaces: The Transformation of Educational Spaces for the 21st Century, 139.

27

Figure 16 I Pedagogical formations which position learning as an active exchange between participants (Image: VIC Dept of Education and Training, adapted from Lennie Scott-Webber In Sync: Environmental Behavior Research and the Design of Learning Spaces)

Figure 17 I Pedagogical framework for different curriculum models (Image: Mike Davies)

explicit instruction.91 Figure 16 UK Educational Consultant, Mike Davies, also identifies a range of pedagogical frameworks to suit different curriculum models.92 Figure 17 In light of the developments in educational theory and practices which empower active learners (as discussed above), a point of contact is emerging between pedagogical best-practice and designed settings. These settings promote “individualised learning, creating settings for innovative teaching, incorporating new technology, being environmentally sustainable and supporting community involvement.”93 Despite this progressive trend Ken Fisher observes that many physical learning settings within Australia are physically little more than “pedagogical holding pens” and schools and designers alike are slow in activating existing knowledge of how to best deliver varied physical settings that embrace varying pedagogical formations. 94 These structured learning settings do not empower the individual learner as the child is not the priority in the learning setting. These settings prioritise a teacher-centric ‘chalk-and-talk’ dissemination of information where children are passive learners and little attempt is made to connect them with their surrounding setting.

Given the complexity of current educational thinking educationalists and researchers are emphasising a designers direct and continued engagement with children and teacher as the way to develop best-practice learning places.

Although generic pedagogical formations have been identified by educationalists like Fisher and Davies, it is argued by some that full standardisation and template approaches to the design of learning places will not result in the fluid uptake of pedagogical best-practice by teachers.95 Rather current thinking recalls the ‘failed’ pedagogymeets-design experiments of the 1970s. 96 In these projects architects aligned themselves with progressive educational agendas and did not ‘listen’ to the needs of the teachers and students.97 This resulted in learning 91 Kenn Fisher, "Linking Pedagogy and Space," ed. Department of Education and Training [Victoria] (Victoria2005); "Pedagogy and Architecture," Architecture Australia 96, no. 5 (2007). Lennie Scott-Webber, In Sync: Environmental Behavior Research and the Design of Learning Spaces (Michigan: The Society for College and University Planning, 2004).

92 Mike Davies, "The Interplay of Design and Learning: The Experience of Bsf," in Take 8: Learning Spaces: The Transformation of Educational Spaces for the 21st Century, ed. Clare Newton and Kenn Fisher (Manuka, ACT: Australian Institute of Architects, 2009).

93 Fisher, "Pedagogy and Architecture," 55.

94 "Schools as 'Prisons of Learning' or, as a 'Pedagogy of Architectural Encounters' : A Manifesto for a Critical Psychosocial Spatiality of Learning" (Flinders University of South Australia, 2002), 8.

95 Ty Goddard, Clare Newton, and Kenn Fisher, "Linking Pedagogy and Architecture - Interview with Ty Goddard," in Take 8: Learning Spaces: The Transformation of Educational Spaces for the 21st Century, ed. Clare Newton and Kenn Fisher (Manuka, ACT: Australian Institute of Architects, 2009); Clare Newton et al., "More Than a Survey: An Interdisciplinary Post-Occupancy Tracking of BER Schools," Architectural Science Review 55, no. 3 (2012).

96 Woolner et al., "Getting Together to Improve the School Environment: User Consultation, Participatory Design and Student Voice; Whyte and Cardellino, "Learning by Design: Visual Practices and Organizational Transformation in Schoos; Ben Cleveland and Ken Woodman, "Learning from Past Experiences: School Building Design in the 1970s and Today," in Take 8: Learning Spaces: The Transformation of Educational Spaces for the 21st Century, ed. Clare Newton and Kenn Fisher (Manuka, ACT: Australian Institute of Architects, 2009).

97 Woolner et al., "Getting Together to Improve the School Environment: User Consultation, Participatory Design and Student Voice; Whyte and Cardellino, "Learning by Design: Visual Practices and Organizational Transformation in Schoos."

28

places that were rejected by the teachers and children who used them.98 Educator Ty Goddard argues that “if you don’t involve teachers and pupils in meaningful ways you lose an important opportunity.”99 What is lost through not engaging children and teachers in the process of a learning places design is the uptake of pedagogical practices that fit a schools contextual and curriculum position, and in turn the opportunity to position the child as an active participant engaged with their education and surrounding place.

The delay in teachers activating knowledge of educational best-practice has been partially attributed to a teachers possible lack of spatial literacy.100 Researcher Clare Newton suggests that the education of teachers, the invisible nature of classrooms, and the fact that teachers do adjustment their teaching environments are three causes for the lack of spatial literacy of those within the educational profession. Newton, Goddard, and Mary Featherston, have identified the expanding role of information and communications technology (ICT) in school curriculum, and the furniture, fittings, and equipment used by teachers to be fundamental in how a school operates.101 The inclusion of teachers in the design process could be one approach in addressing the speed in which concepts of best-practice are activated. If teachers are alert to the spatial possibilities of their surrounding settings they will be empowered to reassess their practices in delivering the best possible education for children.102 Design interventions in educational places are only one part of a transformative process which includes other issues like leadership, school structure, timetabling, and professional development.103 This process often starts, consciously or unconsciously, before a design team is engaged and will extend beyond the completion of a new building. The architect is no longer the dominant driver of change applying their practice orientations or acumen to the problems of teachers. The current literature emphasises that design interventions within educational settings need to arise through a detailed collaborative approach where “design is best perceived as a partnership between educators, students, design professionals and ICT experts.”104 Through open and inclusive collaborative approaches design profession can facilitate in a meaningful way the transition from teacher-centred designs to collaborative learning places.105 98 Cleveland and Woodman, "Learning from Past Experiences: School Building Design in the 1970s and Today."

99 Ty Goddard, Clare Newton, and Kenn Fisher, "Linking Pedagogy and Architecture - Interview with Ty Goddard," ibid., ed. Clare Newton and Kenn Fisher.

100 Clare Newton, "Disciplinary Dilemmas: Learning Spaces as a Discussion between Designers and Educators," Critical & Creative Thinking 17, no. 2 (2009); Fisher, "Schools as 'Prisons of Learning' or, as a 'Pedagogy of Architectural Encounters' : A Manifesto for a Critical Psychosocial Spatiality of Learning."

101 Goddard, Newton, and Fisher, "Linking Pedagogy and Architecture - Interview with Ty Goddard; Mary Featherston, "Fit for Purpose," Teacher: The National Education Magazine (2010); Newton, "Disciplinary Dilemmas: Learning Spaces as a Discussion between Designers and Educators."

102 "Disciplinary Dilemmas: Learning Spaces as a Discussion between Designers and Educators," 21.

103 "Disciplinary Dilemmas: Learning Spaces as a Discussion between Designers and Educators," 8.

104 Ibid.

105 Fisher, "Pedagogy and Architecture."

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Design Concerns - User Focused Places I Section 3

Overview Addressing a building users needs and accommodating the variety of expected and unexpected activities that they may perform within the designed structure is a concern of architects. The spatial scaffolds and affordances that a building offers its users in performing their routine activities is more important to the ongoing success of a building than a designers aesthetic orientation. The 1960s Dutch architects referred to as Team Ten used their theoretical writings and designed buildings to promote the purpose of architecture in providing spatial scaffolds which act as the framework for the social lives of a buildings users. An architect in their practice needs to remain conscious of these concerns particularly when a building’s commissioning client is removed from the main body of people who use the building on a daily basis. This is certainly the case within educational settings where a member of a school’s executive may make decisions on behalf of a school’s children and teachers.

In considering these ideas this section will consider: • Designing Contingency • Gradient Territory I Inviting inhabitation

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Figure 18 I Structural contingency for unexpected activities.

Amphitheatre Apollo Schools (Image: Herman Hertzberger)

Figure 19 I Structural contingency for unexpected activities. Outside Apollo Schools (Image: Herman Hertzberger)

Designing Contingency Architect designed buildings need to simultaneously address a client, and users, current requirements but also be contingent to future possibilities where change may occur and a buildings primary requirements may evolve.

Contingency is defined as the ability of a design to anticipate the unexpected and provide spatial structures that open to many possible futures. As established in this thesis’ front matter organisations as constructions of many networks are in continuous change and flux.106 For the actors in an organisation a new building is often considered a radical intervention and can prompting rapid organisational transformation.107 While buildings may trigger rapid organisation transformation, once complete and inhabited its users and host organisations do not become static or stagnate. As such designs for future buildings need to be adaptable and open to many possible futures. Figure 18 Architect and academic Herman Hertzberger argues that this is achieved when buildings include significant social spaces which afford its users opportunities to continuously evolve their activities.108 Hertzberger uses the analogy of the city where although a cities composition may be altered continuously over time its core structure of social places remains legible.109 Changing functions and unexpected activities that inevitable happen within a building highlight that durability is an important concern. Figure 19 Synthesising the concept of affordances suggested in the first section of this chapter, if designers coordinate successful spatial structures for daily activities then the inherent affordances within these structures will enhance its durability. Hertzberger identifies a hierarchy between: an enduring structure, and variable infills which compliment the structure.110 In the context of designing places for learning this perspective aligns not with the emphasis on create pedagogy specific learning places but rather with adaptable shells in which the teachers can, through their fixtures and fittings, adjust to reflect their desired pedagogical preferences.111 Expanding on this, Hertzberger argues that buildings should not adopt a functionalist perspective, of restricted and limited and predetermined spaces, as this limits their opportunities to that of minimum utility.112 In the context of Australian learning places this perspective is consistent with educationalist Kenn Fisher’s, who as outlined in the second section of the chapter, has identified the pedagogical rigidity of Australian classrooms as a spatial factor 106 Refer to the front matter and Actor-Network Theory for a discussion of networks and organisational structure 107 Whyte and Cardellino, "Learning by Design: Visual Practices and Organizational Transformation in Schoos."

108 Herman Hertzberger, Space and the Architect: Lessons in Architecture 2, 2 ed. (Rotterdam: 010 Publishers, 2009).

109 Space and the Architect: Lessons in Architecture 2, 2 ed. (Rotterdam: 010 Publishers, 2009), 176.

110 Ibid.

111 Featherston, "Fit for Purpose; Newton, "Disciplinary Dilemmas: Learning Spaces as a Discussion between Designers and Educators; Newton and Fisher, Take 8: Learning Spaces: The Transformation of Educational Spaces for the 21st Century.

112 Herman Hertzberger, Lessons for Students in Architecture (Rotterdam: 010 Publishers, 1991), 176.

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Figure 20 I Workplace for 1000 people. Territorial zoning connected with social spaces along pathways helps a buildings users adapt to their settings (Image: Herman Hertzberger)

limiting the delivery of educational best-practice.113

Gradient Territory I Inviting inhabitation Hertzberger suggests that the desire to develop concepts of the public and private, which can be repositioned as collective and individual, have resulted in clichéd design interventions and is a false opposition. “Such oppositions are symptoms of the disintegration of primary human relations.”114 He rejects the polarising emphasis placed on exaggerating individuality and collectivism suggesting instead concepts of territorial zoning and differentiation.115 These concepts operate at two levels. Firstly, territorial zoning operates as a gradient of public accessibility within different areas or parts of a building. The second operation of this concept is in the differentiation of ownership within a structure. This includes “structures [which] precludes the user from exerting any personal kind of influence on their surroundings” to those where users are allowed to own, arrange and take care of their own space.116 Figure 20 Applying the concept of territorial zoning if building users are afforded the opportunity to inhabit and dwell in specific place then a user’s claim to an area will be strengthened. Differentiating between places that users can adapt and restructure, in response to organisational changes, develops a sense of individual responsibility.117 It is the transitioning of an individual as a user of a space to a dweller of a place which develops their identity and engagement with their context.

The emphasis on places which support a users inhabitation is reinforced by Dutch architect Aldo van Eyck’s concept of path-based-design. This concept suggests that social locations within a project should be coordinated and linked as an approach in supporting routine activities and a users inhabitation of a building.118 This concept has many similarities with the studies of Rissotto and Giulian which support the path based experiences of children in their surrounding settings. Van Eyck introduced the concept of the in-between or what Liane Lefaivre and Alexander Tzonis refer to as ‘inbetweening’. This was concerned where architecture was concerned with a 113 Fisher, "Schools as 'Prisons of Learning' or, as a 'Pedagogy of Architectural Encounters' : A Manifesto for a Critical Psychosocial Spatiality of Learning; "Pedagogy and Architecture."

114 Hertzberger, Lessons for Students in Architecture, 12.

115 Ibid.

116 Lessons for Students in Architecture, 20-28.

117 Lessons for Students in Architecture, 22.

118 Liane Lefaivre and Alexander Tzonis, Aldo Van Eyck Humanist Rebel: Inbetweening in a Postwar World (Rotterdam: 010 Publishers, 1999), 98.

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process of mobility and was “made up of encounter points along a network of pathways.”119 For van Eyck actively designing inbetweening situations and pathways gave the possibility of dialogue and emphasises a places “active potential”.120 Van Eyck, and Rissotto and Giulian share a common concern for the incidental experiences of an user such as a child in their every day situations. They consider that these experiences can be designed and accommodated within the territorial zoning and supporting structure of a designed building.

33 119 Aldo Van Eyck Humanist Rebel: Inbetweening in a Postwar World (Rotterdam: 010 Publishers, 1999), 11.

120 Aldo Van Eyck Humanist Rebel: Inbetweening in a Postwar World, 62.

Chapter Reflection I Section 4

Through this conceptual domain I have sought to develop an understanding of how child experience their surrounding settings, what is considered by educationalists best educational practice and what pedagogical formations this includes, and other design concerns that relate to the longevity use of a building. The explored literature showed that children have unique and detailed experiences in their home-school-home journeys understood with the identification of landmarks and place-markers. The scope of these investigations did not include the experiences at these destinations. One aim of this thesis is to document the experience of children in their school setting.

I contend that a child’s experiences are derived from the affordances that a child identifies in their settings. The concept of affordances and the three identified fields of action within the Bullerby Model present designers and educationalists a useful framework for understanding how to support children in the experiences of their settings.

It is important to support these experiences because they contribute to the child’s developing identity and spatial cognition. Studying how children experience their learning places could compare the intended affordances of a learning place with the lived experience of how these affordances are actualised in the daily functioning of a building. Applied to a substantive real world setting it would be interesting to consider what unexpected experiences children have and what affords these experiences to occur.

The investigated literature concerning education theory and pedagogical best-practice emphasised the autonomy of the child as the centre of the learning process. The emphasis is on learning places that facilitate collaboration and knowledge exchange. Teachers act as an integral conduit for these activities. The desired exchanges afforded in the variety of pedagogical formations available to teachers are inherently social. As such a child’s designed learning place should be “suited to social exchanges between its users or inhabitants.”121 Architects in their practice need to simultaneously consider the requirements of their clients, providing the necessary functions, and the social exchanged that effect how a building user engages with their surrounding settings. The reviewed literature brought to the fore the fluid and evolving discourse of educational practice. This discourse evolves 121

Hertzberger, Space and the Architect: Lessons in Architecture 2, 176.

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much faster than the renewal of existing building stock. It highlights the importance of designing built structures which are contingent of future possibilities. Learning places need to be durable and resilient structures which can support education organisations as they evolve and transform.

The discourse outlined in the preceding sections suggest that designed learning settings are only one of the many influences contributing to the delivery of best educational practice. Furthermore each learning place in Australia will have its own nuances and unique qualities because the organisations are comprised of networks with unique players. Even amongst government schools the emphasis in the learning place will vary. The uniqueness of each schooling setting suggests that template and standardised designs can only address the needs of children and teachers so far.

The concepts raised in this conceptual domain are interrelated with grounded real world experiences. The conceptual and substantive both contribute to a layered understanding of the design, procurement, and use of a child’s learning place. The following chapter will explore the methodological domain of this thesis. It will consider the case study approach as a strategy for investigating the reality and lived experiences of learning places.

35

My School I Kosta

36

Methodological Domain I CHAPTER 3

The methodological domain of this thesis defines the procedures for investigating the lived experience of children, teachers, and other key players during the design, procurement, and use of learning places.

Figure 21 In the tradition of Linda Groat and David Wang, the methodological domain contains the strategies used for investigating and documenting the lived experience of children, teachers, and other key players during the design, procurement, and use of their learning place.122 These strategies are achieved through the use of specific tools which are applied to capture experiences of the targeted player. There are three sections within this chapter: • • • •

Section 1 I Conceptual Position Section 2 I Investigative Model Section 3 I Case Study Overview Section 4 I Chapter Reflection

CONCEPTUAL DOMAIN

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Linda Groat and David Wang, Architectural Research Methods (New York: Wiley, Chichester, 2002), 133-35.

SUBSTANTIVE DOMAIN

Figure 21 I Applied research model, methodological domain

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Conceptual Position I Section 1

Overview In this thesis I have sought to unpack the lived experiences of children and teachers in their learning places and understand contributing perspectives. I have argued that this should consider the multiple players who were engaged in the design and procurement of a building and those involved with its use. In applying these arguments this section will consider: • Mixed strategies • The conceptualisation of a case study

Mixed strategies To achieve this aim a range of research strategies are drawn upon and applied through a variety of investigative tools. In this thesis, a research approach is referred to as a strategy and a tool is a research technique used to capture a player’s experiences. This hierarchy of strategies and tools is illustrated in figure 22.

A range of tools was selected for this investigation because the required experiences had their sources in many locations. This is referred to as methodological eclecticism or the mixed methods approach.123 “Selecting and then synergistically integrating the most appropriate techniques … in order to more thoroughly investigate a phenomenon of interest.”124 A criticism of the mix strategies approach is the inherent difficulties of reconciling dissimilar data types. Groat and Wang discuss how a researcher runs the risk of having ‘a lot of data’ but few legible conclusions.125 Although the documented experiences might appear different, these experiences are unified in the attempt of documenting 38 123 Teddlie and Tashakkori, "Mixed Methods Research: Contemporary Issues in an Emerging Field." Charles Teddlie and Abbas Tashakkori, "Mixed Methods Research: Contemporary Issues in an Emerging Field," in The Sage Handbook of Qualitatie Research, ed. Norman Denzin and Yvonna Lincholn (Thousand Oaks: Sage publications, 2011).

124 Charles Teddlie and Abbas Tashakkori, "Mixed Methods Research: Contemporary Issues in an Emerging Field," in The Sage Handbook of Qualitatie Research, ed. Norman Denzin and Yvonna Lincholn (Thousand Oaks: Sage publications, 2011), 286.

125 Groat and Wang, Architectural Research Methods, 370.

RESEARCHER

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Figure 22 I far left Hierarchy of investigation process, strategies defining the selection of research tools Figure 23 I left The case study approach allows methodological bourndaries to be blurred in the efforts to best understand a grounded real world phenomenon

APHS OGR OT PH

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lived experiences of the same building. Through using this mixed strategies approach my research has attempted to focus on its identified matter of concern and has not become distracted by methodological rigidity.

Conceptualising a case study To investigate best the concerns of this thesis, a case study approach has three distinct advantages.

Figure 23 The first advantage of a case study is in grounding an investigation in real world situations, revealing real-world situations that may otherwise prove difficult to capture.126 A strength of the case study is that it supports investigations that operate where boundaries between phenomenon and context are blurred.127 A second advantage of the case study approach is that it supports investigations that operate where boundaries between phenomena and context are blurred. A third advantage is that a researcher can understand nuances and the sequences of events in relation to a case’s context. These advantage supports the development of a holistic understanding of the case in question.128 The inherently inclusive assemblage of a case study investigation is significant, as it can account for context, while simultaneously exploring independent variables and qualities.129 The introduction to this thesis outlined the complex contextual considerations that influence the development of learning places. The case study strategy allows for ‘macro-influences’ to be accounted for alongside the specific nuances and qualities of the building being studied.

39 126 Robert Yin defines a case study as “an empirical inquiry to investigate phenomenon within real life context where the boundaries between phenomenon and context are not clearly evident.” Robert Yin, Case Study Research: Design and Methods, 2 ed., vol. 5, Applied Social Research Methods Series (Thousand Oaks: Sage Publications, 1994), 13.

127 Linda Groat and David Wang, Architectural Research Methods (New York: Wiley, Chichester, 2002), 246.

128 Robert Stake, The Art of Case Study Research (Thousand Oaks: Sage Publications, 1995).

129 Rolf Johansson, "Case Study Methodology," in Methodologies in Housing Research, ed. Dick Urban Vestbro, Yonca Hurol, and Nicholas Wilkinson (Royal Institute of Technology Stockholm: Urban International Press, 2003), 5.

Investagative Model I Section 2

Overview In this investigation I have developed three strategies with which to explore the many ties and influencing players who have contributed to my case studies.

• Strategy 1 I Identify key players • Strategy 2 I Tools for capturing unique experiences • Strategy 3 I Analysis of captured experiences These three strategies are coordinated to from a model for investigating case studies in an attempt to capture and document the experiences and perspectives of multiple players. The generic organisation of this model is proposed in figure 24. The proposed model and the specific investigation tools borrow from Post-Occupancy Evaluation (POE) and Building Performance Evaluation (BPE) models.130 Instead of a simple triangulation of methods, this model attempts to draw in as many perspectives as possible to develop the web of ties which describes and influences the case studies. While the model triangulates different perspectives, it also draws on multiple avenues of investigation to ensure methodological rigour.

40 130 Newton et al., "More Than a Survey: An Interdisciplinary Post-Occupancy Tracking of Ber Schools; Jacqueline Vischer, "Post-Occupancy Evaluation: A Multifaceted Tool for Building Improvement," in Learning from Our Buildings: A State-of-the-Practice Summary of Post-Occupancy Evaluation, ed. Federal Facilities Council (Washington DC: National Academy Press, 2001).

RESEARCHER

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Figure 24 I Generic multimodal investigative model

Strategy 1 I Identify key players The first strategy focuses on engaging the many players who contribute to a project’s development and continual existence. William Fawcett, Ian Ellingham and Stephen Platt identify the generic types of players who contribute to a building project, considering the type of players involved to deliver a hypothetical commercial building.131 Considering the player-types Fawcett, Ellingham and Platt outline, I have developed the following list of potential player and actor types who contribute to a school project: • The Participants – Children: those who are enrolled and attend school for education • The Users - Teachers: key provider of formal education to children • The Client – School Executive: head of the school or other senior teaching positions and directing positions, responsible for the day-to-day running and direction of the school • The Client/Developer – Board of Directors / School Council: provide the governance, leadership, and guidance for the running of the school and management of its financial, property, religious, and strategic responsibilities • The Architect – Designer of the building, responding to relevant constraints and client needs and possibly being informed by personal design orientations • Main Contractor - Construction manager or organisation responsible for physical construction and realisation of the project • The Planning consultant: advisor to the client or local authorities on acceptability of building design in consideration of relevant regulations and constraints • Project Supporters – Sponsors, donors, politicians, prominent community figures, community groups or other groups beyond the schools organisation which support the project • Project Objectors – Community and resident action groups who object to the project

42 131 William Fawcett, Ian Ellingham, and Stephen Platt, "Reconciling the Architectural Preferences of Architects and the Public: The Ordered Preference Model," Environment and Behavior 40, no. 5 (2008). Also see: Federal Facilities Council, Learning from Our Buildings: A State-of-the-Practice Summary of Post-Occupancy Evaluation (Washington DC: National Academy Press, 2001).

Strategy 2 I Tools for capturing unique experiences A second consideration made after identifying the generic player types was to develop investigative tools that were appropriate to capture these players’ experiences. This strategy will outline four tools that can be applied to engage the experiences of identified project players. The research tools employed in this project were approved by the UNSW Built Environment Human Ethics Review Panel, case reference: 135041.

Tool 1: Drawings & Words I Children The first tool attempts to capture the experiences of the user participants. In the school setting, this is the children who attend a school. This is achieved through a visual documentation method.

As I have discussed above, changes in education theory and pedagogical approaches have recognised that a child’s needs differ according to their abilities and development. It seems self-evident that a child aged 7 has different abilities and requirements to a 16 year-old. In my mapping of the players who contribute to a school organisation, a child is identified as the key user participant. The value attributed to a child’s perspective is discussed in the writing of clinical psychologist Sheila Greene and social researcher Diane Hogan.132 The motivation to understand children who “encounter their worlds in an individual and idiosyncratic manner and that their worlds are themselves all different” is a significant concern for this thesis.133 Greene and Hogan highlight the importance of developing methodological strategies, which are shaped to gather data from children. Andrea Cook emphasises the importance of hearing a child’s “voice directly and not through adult filters.”134 The data intended to be gathered from a child may not be obtainable through traditional methods of verbalisation as a researcher may expect from an adult subject.135 However, Cook emphasises that even pre-verbal children have the ability to embody experience.136 43 132 Sheila Greene and Diane Hogan, eds., Researching Children's Experiences: Approaches and Methods (London: SAGE Publications, 2005).

133 Researching Children's Experiences: Approaches and Methods (London: SAGE Publications, 2005), 3.

134 Andrea Cook et al., "Developing Visual Research Tools to 'Do Planning' with Children," in State of Australian Cities National Conference, ed. Carolyn Whitzman and Ruth Fincher (Melbourne: Australian Sustainable Cities and Regions Network, 2011).

135 Greene and Hogan, Researching Children's Experiences: Approaches and Methods.

136 Researching Children's Experiences: Approaches and Methods, 4.

Visual or creative research tools are suggested as one method of engaging and documenting the perspective of a child. Applied psychology researcher Angela Veale provides a discussion of creative methodologies (including drawing) for researching with children.137 Veale states: “…from about 7 years, children begin to master the symbolic meaning of drawing and that drawing can serve as a cultural tool, in the same way as signs and language, for the mediation and transmission of experience.”138 Veale provides some tools for analysis, including comparative analysis looking at size scaling, detailing, location of drawings, and categorising through subject matter or similar visual features.139 Further to this, Canadian researcher Indira Dutt has investigated the connection between students and their natural world and has used visual tools of drawing to obtain data from a focus group of 42 students.140 This approach will allow my research to address learning places as a matter of concern in a holistic way, recognising the importance of children as active users to represent their position, rather than positioning them passively in the research process.

There are potential ethical issues present when researching a child’s experiences and understanding their perspectives. I considered it important to use a non-invasive method with participating children that would nonetheless act as a meaningful tool in documenting their perspectives.

There are potential ethical issues present when researching a child’s experiences and understanding their perspectives. I considered it important to use a non-invasive method with participating children that would nonetheless act as a meaningful tool in documenting their perspectives.

44 137 Angela Veale, "Creative Methodologies in Participatory Research with Children," in Researching Children's Experiences: Approaches and Methods, ed. Sheila Greene and Diane Hogan (London: SAGE Publications, 2005).

138 "Creative Methodologies in Participatory Research with Children," in Researching Children's Experiences: Approaches and Methods, ed. Sheila Greene and Diane Hogan (London: SAGE Publications, 2005), 262.

139 "Creative Methodologies in Participatory Research with Children."

140 Indira Dutt, "School Design and Students' Relationships with the Natural World," Children, Youth and Environments 22, no. 1 (2012).

I considered two approaches to gain the perspectives of children. The first approach I considered, specific to children in primary school, was a drawing and annotation activity. I developed three key questions: • How did they see their school?

• What was their favourite place in the school?

• What was their least favourite place in the school?

The first of these questions was informed by my conceptual domain where a child’s experience in their local settings was outlined. The second and third questions were developed as uniform questions asked to all players in this investigation. There was a drafting process to ensure that the activity was understandable and manageable by the children.141 The second approach developed was to capture the experiences of adolescents. This considered that these children may have outgrown drawing activities and, like some adults, may feel unable to respond to a drawing task because they don’t know how. Instead, I considered that most adolescents are likely to be technologically literate and would feel comfortable documenting their environments through photography. Providing a student with a disposable camera, empowering them to document their school environment as they see fit, and then inviting them to annotate and explain the images they took. This same tool was adopted for the adult teachers.

Given my status as an outsider within the schools I was investigating, I did not directly approach children to be involved with the project. Communication occurred between myself and the heads of school who took responsibility for the project within the school. I was not involved in the briefing of the children who participated in these activities and as such am not aware of any additional direction that they may have been given.

45 141 Appendix 2, 4, and 7 contains my project information statement, protocols, and project permission forms respectively. The drafts and the final working booklet can be found in appendix 8

Tool 2: Point-Of-View Photographs & their Explanations I Teachers The second tool attempted to capture the experiences of the users.

Visual research tools have been a common method of investigation within the social sciences, being used as visual aids to interviews, or in analysing how respondents translate images into words.142 Visual data allows the specific and material settings of a respondent to be brought to the fore.143 Visual data documents a player’s physical experience in their learning or work context. Asking the teachers to document their experiences through drawings, in a similar approach to that of the children, could perhaps alienate the teachers from the task because of a perceived lack of skill. Many adults are familiar with taking photographs and can do so without feeling disadvantaged from lack of skill. These visual documents are significant because they communicate what was not possible to see with a guided walk through the building. They help to visualize and hear the teachers’ lived experience in their workplace.

I followed the same protocols for engaging the teachers as I did with engaging the participating children. The relevant head of school organised the participating teachers. These teachers were given a disposable camera along with a written instruction as to how to complete the task.144 After the teachers had taken their photographs, further written instructions were sent to them via email to explain the second phase of the activity: the annotations of the photographs. The teachers were asked to document places that they thought of positively and places that they thought of negatively. A procedure was developed to ensure the anonymity of any children or adults captured in the frame of the photographs. No photographs required editing. The second phase of this task helped eliminated potential misinterpretation on my part of what the content of the photographs were about.

46 142 The analysis is of the words not of the images.

Jon Prosser, "Visual Methodology: Toward a More Seeing Research," in The Sage Handbook of Qualitatie Research, ed. Norman Denzin and Yvonna Lincholn (Thousand Oaks: Sage publications, 2011).

143 Alan Radley, "Image and Imagination," in Visual Methods in Psychology: Using and Interpreting Images in Qualitative Research, ed. Paula Reavey (East Sussex: Psychology Press, 2011).

144 Appendix 2, 5, 7 contains my project information statement, protocols, and project permission forms respectively.

Tool 3: Semi-Structured Extended Interviews l Project players Semi-structured extended interviews were conducted with identified key project players to capture their experiences in the design and procurement of the project. This included capturing the experiences of project playerts including the client, the client/developer, the architect, the main contractor, and potential supporters and objectors.

The interview topics formulated were influenced by two case study investigation models. The first of these was a model published by the American Institute of Architects.145 his model suggests a variety of topics with which to analyse a project, including: “the client”, “business, design”, “delivery”, “services”, and “specialist resources”.146 To compliment this structure the methods outlined by the Landscape Architecture Foundation were used as a reference to guide the inquiry.147 The interview topics were further influenced by a survey conducted in 1991 by Martin Symes, Joanna Eley and Andrew Seidel.148 Their research discusses the organisational structure of architectural practices. They conducted a survey of 1173 architectural principals registered with the Royal Institute of British Architects in 1991 and had a response rate of 52 per cent.149 The question-structure of this survey was used to inform the questions I would ask. The questions were drawn from the topics of: ‘managing projects’, ‘obtaining new work’, ‘running the office’, and ‘practice priorities’. I complimented this perspective with the investigations of Dana Cuff.150 Cuff develops a description of practice through an ethnographic approach, derived from detailed observation, participation, and interviews.151 She argues that the practice of architecture is a reflection of collective concerns and that the study of architectural practice is not the study of architecture, as a building. Instead “architectural practice emerges through complex interactions among interested parties, from which the documents for a future building emerge.”152

47 145 American Institute of Architects, "Case Studies in the Study and Practice of Architecture," (New York: American Institute of Architects, 2001).

146 "Case Studies in the Study and Practice of Architecture," (New York: American Institute of Architects, 2001), 9-13.

147 Mark Francis, "A Case Study Method for Landscape Architecture," Landscape Journal 20, no. 1 (2001).

148 Martin Symes, Joanna Eley, and Andrew D Seidel, Architects and Their Practices: A Changing Profession (Oxford: Butterworth Architecture, 1995).

149 Architects and Their Practices: A Changing Profession (Oxford: Butterworth Architecture, 1995), 189-90.

150 Dana Cuff, Architecture: The Story of Practice (Massachusetts: Massachusetts Institute of Technology, 1991).

151 Architecture: The Story of Practice (Massachusetts: Massachusetts Institute of Technology, 1991), 6.

152 Architecture: The Story of Practice, 4.

A final influence on the interview topics were the findings that emerged my conceptual domain. These concerned education theory and pedagogy, child psychology and perceptions of place, and attitudes towards design and the definition of built places.

The interview question protocol engaged with the following topic areas: • Practice related questions • Design ethos • Respondent specific questions • Education and pedagogical concerns • Project history • Project development • Project reflection The order of this list represents the order of topics asked during the interviews. It was structured in this manner to construct a background understanding of the interviewed player before exploring the specifics of the case study.

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Tool 4: Text Analysis l Primary sources, Project commentators, Project and practice related discourse The fourth tool attempted to capture an understanding of project intentions, professional identities, and critical response to a project.

Text analysis including both primary and secondary sources can provide insightful information into human thought and behaviour.153 Exploring the critical discourse surrounding an architectural project is important because published material provides particular insights into a project’s zeitgeist, motivations, and reception which are equally important as the physical project itself.154 Published textual data can document ongoing discussions across a broad range or evolving concerns. These concerns may include a buildings intentions, a professions expectations, record of a buildings ongoing use, and community reception. These all contribute to provide a layered and multi-perspective understanding of a given phenomenon. Exploring perspectives captured in published texts can make clear factors that contribute to the physical form of a building.155 This occurs because published texts, either primary or secondary, can hold intention and factors considered in the design process.

Within the discipline of architecture there is a broad acceptance of what constitutes a text. Documents such as interviews and photography or fragments from architectural production including sketches, models, and other drawing types, can all be considered to be primary texts.156 Architectural documents have been studied as texts in their own right in historical inquiries and forensic-design investigations.157 Secondary texts may include published reviews, reports, critical and theoretical perspectives. The study of text also allows the gathering of perspectives sourced from other actors which other investigation tools may excluded from consideration.158 This may include government policy, legal decisions, and consultant reports. These documents, primary sources in material, may not be captured through social methods of investigation however have significant impacts on the course of a projects evolution and use.

49 153 Joseph F. Wong, "The Text of Free-Form Architecture: Qualitative Study of the Discourse of Four Architects," Design Studies 31, no. 3 (2010); Henry Russell, Social Research Methods: Qualitative and Quantitative Approaches (London: Sage Publications, 2000).

154 Adrian Forty, Words and Buildings: A Vocabulary of Modern Architecture, Vocabulary of Modern Architecture (London: Thames & Hudson, 2000).

155 Wong, "The Text of Free-Form Architecture: Qualitative Study of the Discourse of Four Architects."

156 Groat and Wang, Architectural Research Methods.

157 For instance examples of historical inquiries focusing on text analysis may include: Goad, "‘A Chrome Yellow Blackboard with Blue Chalk’: New Education and the New Architecture: Modernism at Koornong School." whilst forensic design studies may include: Fuensanta Nieto and Enrique Sobejano, Utzon: Museo De Silkeborg 1963, vol. 22, Absent Architecture of the 20th Century (Madrid: RUEDA, 2003); Masaki Suwa and Barbara Tversky, "What Do Architects and Students Perceive in Their Design Sketches? A Protocol Analysis," Design Studies 18, no. 4 (1997).

158 Candace Jones and Reut Livne-Tarandach, "Designing a Frame: Rhetorical Strategies of Architects," Journal of Organizational Behavior 29, no. 8 (2008).

The analysis of text-based material provide fertile ground for discussing what people say and how they communicate it.159 This thesis has considered the opinions, and perspectives contained within published texts as important in providing an insight into the profession’s promotion of best-practiced learning places. Architects use the publication of material in two identified ways: firstly to generate a marketable reputation, and secondly to pursue professional acceptance as a way of legitimising their design convictions.160 In the practice of architecture the production and publication of texts, across all media types, is important in developing opportunities and gaining access to new clients.161 What architects and the profession promote as best-practice in the design of learning places may not align with what educationalists and teachers discuss. As such considering published texts as independent and significant players which contribute to a project in understanding its design, and use will provide unique insights into a selected case study.

50 159 Russell, Social Research Methods: Qualitative and Quantitative Approaches.

160 Blau, Architects and Firms: A Sociological Perspective on Architectural Practice; Jones and Livne-Tarandach, "Designing a Frame: Rhetorical Strategies of Architects; Wong, "The Text of Free-Form Architecture: Qualitative Study of the Discourse of Four Architects."

161 Jones and Livne-Tarandach, "Designing a Frame: Rhetorical Strategies of Architects."

Strategy 3 I Analysis of documented experiences Visual Data I Point-Of-View Photographs & their Explanations (Teachers), Drawings & Words (Children) To explore the participant’s experience of a case study building their visually documented experiences were examined for common themes which were clustered into domains of concern. In analysing the identified themes and domains the visual data was simplified into two modes: content and construction.162 Distinction is made between the content of an image and the respondent’s relation to the image. The same distinction is referred to by psychology academic Paula Reavey as image and depiction, or as empirical and symbolic by educationalist Jon Prosser.163 The analysis of visual data gathered in this investigation seeks to consider these two aspects. The first aspect (content) considers how pictures can be used as a way to gain access to the participant’s interests and concerns. The collected images are explored as an illustrative act of the participant’s lived-experiences. As outlined in strategy #2 above the participants were asked to annotate their images as a way of explaining their experiences. The second aspect (construction) analyses how and why the image and its annotations were made.

In the analysis of photography this processes has also been referred to as picturing.164 This included investigating the common features, phrases, and structures of the assembled images and words.

Text-based Data I Extended Interviews (key players), Literature (published) Text-based data including interview transcripts, and published literature, were examined for common themes which revealed insights into the design, procurement and use of the case study buildings. I recorded the extended interviews (with permission from participants) to ensure that their views were correctly cited; all recordings were transcribed verbatim. I also established a process of member checking. Jamie Baxter and John Eyles note member checking as a process which can establish rigour within qualitative research.165 All engaged players agreed to be identified by name and to have attributed to them any statements said during 162 Prosser, "Visual Methodology: Toward a More Seeing Research; Radley, "Image and Imagination."

163 Prosser, "Visual Methodology: Toward a More Seeing Research," 479; Radley, "Image and Imagination," 17.

164 Darrin Hodgetts, Kerry Chamberlain, and Shiloh Groot, "Reflections on the Visual in Community Research and Action," in The Sage Handbook of Qualitatie Research, ed. Norman Denzin and Yvonna Lincholn (Thousand Oaks: Sage publications, 2011).

165 Jamie Baxter and John Eyles, "Evaluating Qualitative Research in Social Geography: Establishing 'Rigour' in Interview Analysis," Transactions of the Institute of British Geographers 22, no. 4 (1997).

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the interviews. This was important for the investigation, as I have sought to recognise each player within and consider their experiences in relation to the broader project network. Identifying each player draws on the dualistic characterisation of a network as being both actor-centred and network-focused.166 However, not all participants engaged with the member checking process. Given the short time frame of the project, I interpreted no response as an implicit approval of the transcript.

The interviews and published literature were analysed for themes. The identified themes were categorised and clustered to specific domains. Each theme identified, specifically or on the periphery, a set of relationships which could be identified as part of a larger network influencing a project’s evolution. The gathered perspectives were not filtered through a predetermined framework established from the conceptual domain. The conceptual domain partially informed the topics asked the interview participants but did not sit in a hierarchy above what was heard in the substantive (case study) investigations. Instead the grounded experiences and perspectives captured within this substantive domain were considered interrelated with the findings and concerns of the conceptual domain.

The conceptual and substantive domains interact an commingle to develop an understanding of a child’s spatial experience in their learning place and the significant influences that impact on its design and procurement. Some research approaches conduct content analysis and focus on words as individual units. This approach was not selected because it deconstructs the gathered data, removing the context which gives meaning to them and makes it difficult to gain insights into a projects design, procurement, and use by a participant.167 In considering the identified domains and their specific themes I examined two components these being: what the results said, and how this was communicated. The first type of analysis (what was said) explored the content of a theme grounded in a context-specific situation. The second type of analysis (how themes were communicated) explored the organisational and contextual situation of these statements and examined the background informing the perspective. This brought to the fore the motivating foundation for what the statements legitimised, reinforced, and questioned.

The next section I explain the criteria used for selecting the two chosen case studies.

166 167

For a discussion on the qualities of networks refer to the front matter of this thesis and the discussion of the ANT in the front matter.

Wong, "The Text of Free-Form Architecture: Qualitative Study of the Discourse of Four Architects."

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Case Study Selection I Section 3

Overview This section will consider two aspects: • Case Study Selection Criteria • Cast Study Introduction

Case Study Selection Criteria Given the time and budget constraints of this project, I decided that two case studies would allow for sufficient rigour in presenting a working model for investigation. The case studies were selected by three criteria: - Completed within the last 10 years (2003 – 2013) In an attempt to connect with the identified themes that emerged from my conceptual domain, particularly in the sphere of pedagogical developments investigating, the study of recently designed and completed learning place was an important development. These projects are a product of political focus on schools as outlined in my framing context.

- Project located in New South Wales or Victoria The criteria for selecting a school in New South Wales (NSW) and Victoria (VIC) related to historical developments in Australia and the conceptual framework. As education is run by State governments there are different approaches, emphasises and perspectives within each of Australia’s state education systems. The Conceptual Domain identified VIC as having a particular concern in investigating new approaches to pedagogy and shaping learning environments as a product of collaboration between educators and designers.168 I am conscious that completing only two case studies can draw no conclusive statements about possible trends within VIC or NSW and 168 Featherston, "Fit for Purpose; Fisher, "Schools as 'Prisons of Learning' or, as a 'Pedagogy of Architectural Encounters' : A Manifesto for a Critical Psychosocial Spatiality of Learning; "Linking Pedagogy and Space; "Space and Place: Learning Environments for the Ne(X)T Generation," Teacher: The National Education Magazine (2007); "Pedagogy and Architecture; Peter Jamieson et al., "Place and Space in the Design of New Learning Environments," Higher Education Research & Development 19, no. 2 (2000); Newton, "Disciplinary Dilemmas: Learning Spaces as a Discussion between Designers and Educators; Newton and Fisher, Take 8: Learning Spaces: The Transformation of Educational Spaces for the 21st Century; Clare Newton and Lena Gan, "Revolution or Missed Opportunity?," Architecture Australia 101, no. 1 (2012); Newton et al., "More Than a Survey: An Interdisciplinary Post-Occupancy Tracking of BER Schools."

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approach to learning place design within the 21st century. The identification of design trends has not been the focus of the investigation. Instead the intent of selecting a school from each state was to consider possible activation of state-specific pedagogy-and-design knowledge.

-

Awarded in the Australian Institute of Architects awards program Architect designed buildings is a specific focus of this investigation. Within the architecture profession the Australian Institute of Architects (AIA) has developed an awards program to recognise architectural merit.169 This annual program attempts to identify recent exemplar projects.

The focus of the awards program includes an assessment of a projects: conceptual framework, public and cultural benefits, relationship with the context, resolution of the program, integration of allied disciplines, cost and value outcomes, sustainability and response to client and user needs.170 By using architecture awards as a criteria this identifies what projects the profession consider to be best practice and allows an assessment as to the worth or value of this judgment in light of themes identified in the literature and the insights of the users. A matrix of all schools that have been awarded by the AIA in NSW and VIC is listed in Appendix 3.

54 169 170

Australian Institute of Architects, "2013 Architecture Awards Jury Handbook," ed. Australian Institute of Architects (2013), 20.

"2013 Architecture Awards Jury Handbook," ed. Australian Institute of Architects (2013).

Figure 25 I All Saints Junior School, North-west corner (Image: Angus Hardwick)

Figure 26 I Aerial site photograph, All Saints Junior School shown in yellow, All Saints Parish Church shown in blue Image edited, sourced from GoogleMaps (Accessed: October 2013)

Introduction of Case Studies Case Study 1 I All Saints Grammar Primary School The first case study school this thesis considers is the All Saints Grammar Junior School (All Saints Junior).

Figure 25 This school is located in the Sydney suburb of Belmore. The schools location is shown in figure 26. The school is a multi-cultural coeducational Greek school, established by the local Greek Orthodox parish church.

The senior school was established in 1990 while the junior school was opened in 1996 in the nearby suburb of Lakemba. The junior school has approximately 350 students and staff. It commences teaching in Kindergarten with this also being the main intake year. The Chairman of the parish Board of Directors is Pol Kouroushis, the Board of Directors is responsible for the governing of the school and the other operations of the parish. The Principal of the School, pre-kindergarten to year 12, is Anthony Tsoutsa. The Deputy Principal and Head of the Junior School is Elfa Lillis.

Angelo Candalepas, design principal of Candalepas Associates and a member of the Belmore parish community since his childhood, was engaged by the Board of Directors to design a new junior school. This building opened in 2008. This building, All Saints Junior, was awarded the Sulman Award for Public Architecture by the NSW Chapter of the AIA in 2009. It also received a National Award for Public Architecture by the AIA. The building was also shortlisted by the World Architecture Festival in 2010 in the Learning category. The building was constructed with a budget of $6.5 million.171 There were approximately $300 000 worth of variation costs.172 The building was built

by Soz Constructions.

Beyond the main school building Candalepas Associates were engaged by the Board of Directors to design a gymnasium, commercial grade kitchen and community board/meeting room on a site opposite the junior school.

This project was funded through the BER program. They gymnasium was completed in 2011. In 2012 the NSW 171 Candalepas, Angelo. Interview by Angus Hardwick. Extended Interview. Candalepas Associates Castlereagh St Sydney, July 16, 2013.; Kouroushis, Pol. Interview by Angus Hardwick. Extended Interview. All Saints Parish Boardroom Belmore, July 29, 2013.

172 Candalepas, Interview by Angus Hardwick; Kouroushis, Interview by Angus Hardwick.

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Figure 27 I PEGS Senior, view of main entry arch (Image: John Gollings)

Figure 28 I Aerial site photograph, View of PEGS Senior and the surrounding residential and recreational context (Image: Peter Bennetts)

Chapter of the AIA awarded the gymnasium building a Commendation for Public Architecture. Additionally Candalepas Associates have designed a shade structure installed in the schools forecourt, installed in 2011. In 2013 Candalepas Associates completed a renovation and extension of a parish owned house to create an early learning centre.

Case Study 2 I PEGS Senior School The second case study school investigated is the Penleigh and Essendon Grammar Senior School (PEGS Senior). Figure 27 This school is located in the Melbourne suburb of Kielor East. The schools location is shown in figure 28. The school is a multi-campus Uniting Church school. The school is the result of a merger between Penleigh Presbyterian Ladies’ College (girls) and Essendon Grammar School (boys) which occurred in 1977. The children separated into gender specific schools until year 11 and 12 when they reach the senior school. In the years preceding the amalgamation of students into one coeducational year group they complete various curricular and social activities together. The Senior School is used by approximately 650 students and staff. The project was the first building to be designed as part of a school wide master plan. The master plan for the Kielor East campus was designed by Cox Architecture. The PEGS Senior project was won by McBride Charles Ryan (MCR) in an invited design competition. Initially six architectural practices were approached and two were selected by the client control group to presenting a sketch design.

PEGS Senior was awarded a Public Architecture Award in 2013 by the Victorian Chapter of the AIA. The building has been automatically nominated for a 2013 National Architecture award in the Public category. The building has been shortlisted as a finalist for the 2013 Melbourne Design Award in the Commercial Constructed category. It also received the 2012 Think Brick Horbury Hunt Award in the Commercial category. The building was shortlisted at the 2012 World Architecture Festival in the Schools category.

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The PEGS Senior project had a budget of $33 million and was completed in 2012. The building was built by Construction Engineering Australia.173 While engaged to design PEGS Senior MCR also designed the PEGS Junior Boys which was a BER project providing classrooms for year 5 and year 6 students. In 2012 PEGS Junior Boys building was awarded Commendation for New Public Architecture by the Victorian Chapter of the AIA. This building won the 2011 Think Brick Horbury Hunt Award in the Commercial category. The building was also awarded a 2012 Melbourne Design Award in the Commercial Constructed category.

57 173 Hamilton, Robert. Interview by Angus Hardwick. Extended Interview. PEGS Middle Girls Construction Site Keilor East, August 21, 2013; Ryan, Debbie-Lyn. Email, September 16, 2013 2013.

Chapter Reflection I Section 4

The framework for this investigation emphasises the importance of identifying and capturing the web of players and actors that impact on a phenomenon. Further more this investigation has been grounded in a real world phenomenon, that being the study of two schools. The conceptualisation of the case study approach and the mixed strategies modes of investigation that it supports appear as logical translations of these overarching framework intentions. The outlined strategies and particular tools proposed are focused in capturing the lived experience of children and teachers in their learning places and the key players who contributed to a learning places design and procurement. I recognise that each tool is particular and draws on significant knowledge and precedent. This makes the application of many tools within the one investigation ambitious and the risk of producing ‘too much’ specific data to be comprehendible very real. Regardless with the aims of exploring the influence of organisational structures, and relating a child’s experience in their learning place to an awarded building’s intentions it is necessary to capture the experiences and perspectives of the many players and actors involved in a project.

Reflecting on the selected case studies it is difficult to compare and relate as they appear disparate. From a macro-perspective one case study is a junior school and the second case study is a senior school. However there are many points of similarity: both school buildings have received AIA awards at state and national levels; both schools are non-government; both have religious links; both schools are coeducational; and both schools are complete campuses and not infill projects.

When the investigation commenced, I originally selected PEGS Junior Boys as a case to investigate. I received preliminary support from the architects with this investigation. The McBride Charles Ryan (MCR) agreed to approach the school on my behalf. As the discussion with the architects continued, it became apparent that due to organisational change within PEGS it was not likely I would be able to make contact with anyone at the junior school. I was given the option of investigating the Senior School Infinity Centre project. A point of departure for this thesis was my position as a student of architecture, who has aspiration to pursue architectural practice. I was

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interested in the work of MCR and having already engaged their support for the project I was keen to document their experiences and perspectives. Whilst there may have been other projects within MCR’s oeuvre that may fit the case study selection criteria, the successful investigation of a child’s and teachers experience in their learning place is only possible if the researcher, as an outsider, is presented the opportunity to engage with these key players. At PEGS Senior this was not possible. Within these two different case study buildings, I have being able to test the versatility of my investigation model and document the influences on a learning places design and procurement. I have also been able to document the experiences of children and teachers in their daily use of their learning place.

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My School I Jamie

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Substantive Domain I CHAPTER 4

The substantive domain of this thesis will report on the two case study investigations conducted. The substantive sphere is the third component of the research model being used in this investigation.174 This chapter considers the two case studies in two sections: • Section 1 I Case Study 1 – All Saints Grammar • Section 2 I Case Study 2 – PEGS Senior The two case studies All Saints Junior, and PEGS Senior act as testing grounds for the investigation model as outlined in the preceding methodology domain. The captured experiences (results) are grouped according to the engaged project player’s. As outlined in the preceding methodological domain, the engaged project players had their experiences and perspectives documented through investigation tools that empower the player. The documented experiences of the engaged players have been analysed for common themes. The common themes were clustered within broader themes, referred to as domains. These domains and their specific themes revealed the lived experiences of children, teachers, and other key players in the case study.

CONCEPTUAL DOMAIN

MATTER OF CONCERN

METHODOLOGICAL DOMAIN

PEGS Senior School East Keilor Vic toria

174 For a further discussion of this model refer to front matter. Brinberg and McGrath, Validity and the Research Process.

SUBSTANTIVE DOMAIN

r io un ales J ar W m h m ut ra So G w ts in Ne a e r lS o Al elm B

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Figure 29 I Applied research model, substantive domain

Case Study 1 - All Saints Grammar I Section 1

Overview The first case study presented is a full application of the investigative model presented in this thesis’ methodological domain. This included engaging 27 year 6 students to draw and write about their experiences within the All Saints Junior School; two teachers, using photography, were empowered to visually document, describe and express their experiences within their workplace; four semi-structured extended interviews were conducted with the project’s architect, school principal and a member of a school administration to reveal the intent, development, and use of the All Saints Junior School. Further to these documented experiences I analysed the published material and perspectives on this architecturally awarded building. The application of this investigative model and the engaged players is mapped in figure 30. The following section will discuss the captured and documented experiences of: • • • •

Players I The Children Players I The Teachers Players I The Architects, Chairman, and Head of Junior School Players I Published Perspectives

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RESEARCHER

ALL SAINTS GRAMMAR PRIMARY SCHOOL

TEX TA N

S IEW V R TE IN

Angelo Candalepas Evan Pearson

Pol Kouroushis Elfa Lillis

POINTOF V IEW

CAPTURED EXPERIENCES (results)

ALL SAINTS GRAMMAR PRIMARY SCHOOL

EXT E N DE D

INVESTIGATION TOOL (eg drawings + annotations)

Maryam Gusheh (review) -ArchitectureAustralia Australian Institute of Architects (citation) Elizabeth Farrelly (opinion) -Sydney Morning Herald

Leon Christiana Vasili Emmanuel Nicholas Athan Peta Adony Mia Paige Yianni Spiriaon Nectarios Vicky Jaimie William Thomas Aspasia Jonathan Kosta Demi Valentina Zaharoula Kathy Nicholas Tifani

DS OR &W

ENGAGED PROJECT PLAYER (eg year 6 students)

DRA WI NG S

APHS OGR OT PH

RESEARCH STRATEGY

Andrew Mckenzie -Australian Financial Review Eva-Marie Prineas -Houses Belmore Residents Action Group -FairfaxMedia -NewsLtd Canterbury City SIS Y L Council A

Carmel Hurst Kerry Bates

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Figure 30 I Investagative model applied to All Saints Junior case study

Experience Through Activity Inderpendence Environmental Conditions

Restriction

Play Socialising

Description Common Features

Location & Position

Construction & Image Making Technique

Image

Annotation Structure & Orientation KEY Themes Domain

Figure 31 I Domains and themes identified in the drawings and annotations of the 27 participating children

PLAYERS I THE CHILDREN Tool 1 – Drawings & Words The Head of the Junior School, Elfa Lillis, was responsible for administering this phase of the project. A sample size of 60 students was requested and after parental permission forms were returned to the school 27 year 6 children participated in the project. The participating children were Adony, Angeliki, Aspasia, Athan, Christiana, Demi, Emmanuel, Jamie, Jonathan, Kathy, Kosta, Leon, Mia, Nectarios, Nicholas, Nicholas, Paige, Peta, Spiridon, Thomas, Tifani, Valentina, Vasili, Vicky, William, Yianni, and Zaharoula. Through the experiences of these 27 children, three broad domains were identified which grouped 11 specific themes. These domains and their themes are mapped in figure 31.

Domain I Experience Through Activity Theme I Independence & Restriction The children discussed how their school and its physical construction gave them independence to perform the activities that they enjoyed but also discussed how the school building restricted their freedom. Two themes, independence and restriction, were identifiable in the documented experiences of the children. These themes developed from the children’s desire to ‘do’ activities. This discussion will consider these two themes together as they are both related.

Demi

I like this place [the library] because it is a calming, relaxing area to read and express your emotions through books!

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Word Frequency Like 22 Favourite place 2 Favourite room 1 Like the most

1

Love

1

No judgement

1

Location Frequency Gymnasium 13 Library 7 Gifted & 3 Tallented Room Playground 3 [aggregate] [Primary [2] Playground] [Playground] [1] Classroom 1

Word Don’t like Do not like Do not enjoy Don’t enjoy No judgement Dislike Hate

Frequency 14 6 2 2 2 1 1

Location Music Playground [aggregate] [Playground] [Primary Playground] [Infants Playground] Toilets Building Rear Classroom Gymnasium PMP Room Toilets

Frequency 12 8

Table 1 I far left Frequency of descriptive words used in Question 2 Table 2 I left Frequency of descriptive words used in Question 3

[5] [2] [1] 2 1 1 1 1 1

Table 3 I far left Places the children liked identified in Question 2 Table 4 I left Places the children did not like identified in Question 3

Firstly, the children documented how they enjoyed their experiences where they saw themselves as independent and free within the school setting. In responding to the set questions, “please draw your favourite place at school”, and “please draw a place at school you do not enjoy”, the children wrote about their experiences performing an action or activity and drew the places that these experiences occurred within. The children conceptualised their experiences in a number of ways. Firstly, outlined in table 1 and 2, the children interpreted the questions with the terms ‘like’ and ‘don’t like’. The questions used the terms ‘enjoy’ and ‘do not enjoy’.175 The children used a larger range of descriptive words to describe the places they didn’t like compared to the consistent use of ‘like’ for their favourite places. Table 3 charts the locations in the school that the children liked and didn’t like. When the children discussed the gymnasium they discussed how they enjoyed to play and do sport in the area. They described the size (big), and environmental conditions (lots of sunlight) as being qualities that they enjoyed in this place. Beyond outlining the places the children did and did not like the drawings reveal that the children enjoyed activities which they could control. Table 4 Within the gymnasium free-play and sport, and reading in the library were key activities that the children actively described. Figure 32 and 33 When the children’s activities were not restricted the building and physical space was not a focus of their experiences. Their attention was on the activity they performed in a place or setting.

Spiridon

I like the gym because it is very big to play on and it is not made of sament. [cement]

65 175

Refer to Appendix 8 for the final and draft working booklets the children used.

Figure 32 I Places the children liked, experiences in the gymnasium, drawings by: far left Jamie middle Kathy left Nicholas

Figure 33 I Places the children liked, experiences in the library, drawings by: far left Angeliki middle Christiana left Demi

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Figure 34 I left How the children saw their school, different drawings of the canteen below left The canteen at All Saints Junior (Image: Kerry Barris)

In the response to the first question, “please draw your school”, 16 of the 27 participating children drew the school canteen. Figure 34 The drawings of the canteen ranged from drawings with little detail beyond depicting its location, to drawings which showed items behind the counter and a person, possibly a parent or employed canteen staff member, who the children identified purchasing items from. The social exchange and financial responsibility that the children have in the place is a significant feature of the children’s experience at school.

The children considered themselves to be independent and responsible for their own actions in the playground, in the library and when they used the canteen. The reality of primary schooling is that recess and lunchtime is supervised and controlled by the staff. However, the children’s experiences and perception of independence reference the independent mobility license they are afforded during these break times.176 The children documented that their experiences of independence occurred beyond their structured ‘home-base’ classroom setting and at places considered to be destinations. The children used labels and keys to identify named places in their school. Their experience of independence occurred at these destination locations.

Secondly, the children discussed how the school building restricted their freedom and ability to perform key tasks.

When the children discussed the places at school that they did not like their experiences identified the building as restricting their activities. Table 4 shows that 12 students identified the music room as a place they didn’t like, and 8 identified the playground as a place they didn’t like. The children identified the confined area and poor environmental conditions, such as no natural light and little fresh air, as being the qualities of the room they did not enjoy. Figure 35 None of the children’s responses claimed that they did not like the activity of music, it was the physical room and its qualities that the children did not like.

Jamie

I do not like this place [the music room] because it is too stuffy and dose [does] not have windows so you have to keep the doors open.

When the children discussed their experiences of the school’s playground they expressed their frustration with their limited ability to play and perform the activities that they wanted to. Figure 36 They identified the playground’s 176

Kyttä, "Environmental Child-Friendliness in the Light of the Bullerby Model," 142.

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Figure 35 I Places the children did not like, experiences in the music room, drawings by: far left Mia middle Jamie left Spiridon

Figure 36 I Places the children did not like, experiences in the playground, drawings by: far left Mia middle Nicholas left Kosta

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Location Floor seperation Doors Labels / annotations Trees Stairs Canteen Fence / gate Roof Furniture (tables/ chair/clock) Lift Play equipment Timber screens People Toilets Shade structure Concrete columns and blades Windows Emergency items (red phone / fire extinguisher) Road Bins Bag racks Concrete entry awning Sun

Frequency 24 20 19 18 17 16 16 14 11 11 10 10 9 9 8 5 5 3

3 2 1 1 1

Table 5 I left Features the children identified in their drawings of the All Saints Junior School Figure 37 I far left East elevation drawing comparison. Drawings by: top to bottom Candalepas Associates Vasili Adony Emmanuel

material finish, concrete with no grass, and the playgrounds size, too small, as the key design elements which restricted their independence. The children’s experience in their playground was framed by evenly spaced trees which were seen as formal elements not natural elements by the children. Their drawings often identified and named the objects in the playground such as the handball courts or seats. Time spent in the playground during recess and lunchtime is time when the children socialise and interact with each other without the structure of their classroom. The children’s frustrations are in response to not being able to use the time as they see appropriate, for playing.

Aspasia I do not like this place [the playground] because there is no grass. I want grass

because lots of kids fall over and hurt themselves.

Domain I Construction and Image Making Analysis of visual data occurs within two frames, image and depiction or what the images say, and how the images are constructed.177 The third domain grouping themes evident in the children’s drawings was concerned with the construction and process of image making. This domain groups four themes: common features, technique, annotation and description. This domain is mapped in figure 31. In the following section I will discuss the theme related to common features whilst making reference to the themes of technique and annotation.

Theme I Common Features The first question the children responded to, “please draw your school”, provides insights into how the children see and understand their school. The features that the children identified in their drawings are summarised in 177

Prosser, "Visual Methodology: Toward a More Seeing Research," 17.

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Figure 38 I How the children saw their school, different drawings of trees

table 5 which shows that 22 children identified the vertical organisation of their school by drawing horizontal lines differentiating levels, some drawings specifically identified the levels. Figure 37 is a comparison between the elevation drawn by the architects and elevations drawn by the children. Many of the drawings presented the school in elevation without the timber, mesh and concrete façade, from the Cecilia Street perspective. Further to this many of the children comprehended the long, Cecilia Street elevation, as the front of the school. Only two children drew the school from the Isobel Street elevation and entry. Most of the children, 16 in total, described the school as a bounded building with a clear boundary and a specific entry.

Stairs were another common feature located at the edge of the page. The children’s drawings suggested that they had a clear understanding of their school’s organisation and an embodied knowledge of where things were. Some drawings noted small details like the location of emergency items such as the fire extinguisher. A common feature of all drawings was the repetition of objects in the drawings. Twenty children drew doors, which were depicted in elevation, and emphasised the repetition of the classroom cell unit. Another significant feature repeated in the children’s drawings, both in plan and elevation, was of the trees. Figure 38 The 18 children who drew trees depicted them as formal and structured elements in their school. Many of the drawings of trees showed a ring around their trunk. This observation enforces the children’s observation that the trees were located at specific points and are not randomly placed. Figure 39 shows the spacing of the trees in plan as drawn by Candalepas Associates, a clear visual pattern and relation between these two drawings is apparent. Further to this many of the children’s trees were depicted as ball-and-stick in form. This enhances the formal and structured use of the trees as a design element for framing an architectural composition. The children drew the trees as repeated elements both in plan and in elevation.

It was interesting to see that when asked to draw their school the children did not often draw people in the school, or show the school in use. People were shown mainly with the canteen where there is a strong association between the child and the action of purchasing food over the counter. The insights derived from these common

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Primary'Playground' !

Handball!courts!in!foreground!and!snakes!and!ladder!game!in!the!background.!!The!shade!cloth!has!been! erected!around!the!exis8ng!trees.!!I!think!the!poles,!the!trees,!the!steps!and!the!concrete!pillars!all!make!this!a! hazardous!space.!

Figure 39 I left top Upper ground plan excerpt showing regular spacing of trees (Candalapes Associates) left Primary playground and its immediate context. Some remarks by a teacher.

(Image: Carmel Hurst)

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Figure 40 I How the children saw their school, drawings All Saints Junior as a campus, drawings by: top Aspasia bottom Site Plan (Candalepas Associates)

features in the drawing identify the elements of All Saints Primary that the children consider to be important. In the drawing of the school only one child drew the school in plan, showing a relationship between school, playground, road, and gymnasium. Figure 40 These insights reveal that the children experience their school as an ordered ‘object’ which has a clear structure and specific locations for particular objects and items.

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Discipline (Education) Specific Environmental conditions of teaching places Ability to perform activities Teacher-Student relationships

Structure of photographs

Aesthetics Construction & Image Making Student enjoyment Proximity & Location Project (All Saints) Stories & Issues

Structure of annotations KEY Themes Domains

Figure 41 I Interview Domains & Themes

PLAYERS I THE TEACHERS Tool 2 - Point-of-view photographs & annotations The point-of-view photographs taken by the teachers occurred over a three-week period, 22nd August to 12th September 2013. The two participating teachers, Carmel Hurst and Kerry Barris, took a total of 53 photographs.

The teachers did not take the same amount of photographs, as discussed in my protocols the instruction to the teachers was to take as many as they felt appropriate.178 At the time of the research Kerry Barris was a year 5 teacher and Carmel Hurst taught year 6. Both teacher’s classroom were located on the top level of the school. The photographs and accompanying annotations were analysed for the common topics, summarised in figure 41.179 I identified three broad domains which these topics clustered around: project stories and issues; performance of discipline, education, specific activities; and the construction and making of the photographs as images. I will discuss each domain and its encompassing topics in the following section.

Domain I Project Stories & Issues Through the photographs and annotations the teachers were empowered to document, describe and express a series of stories and issues which related to their experience of the All Saints building. I identified three common themes proximity and location; aesthetics; and perception of student enjoyment. I will discuss the theme of aesthetics as the teachers express direct perspectives about how they use their workplace.

Theme I Aesthetics The teachers documented their aesthetics experiences in the extended setting of All Saints at all three photographic scales: building, room and detail. The teachers did not discuss their aesthetic considerations in passive terms, rather they actively positioned themselves, their judgments, and their experiences as the focus of 178 179

For further information on point-of-view photographs as a research tool refer to p46.

See p51 for the analysis process I have used to understand these point-of-view photographs.

73

their responses. In the photographs that documented their experiences on a macro building level the teachers remarked about: the scale of the buildings; the photographed buildings relationship with its surrounding setting; and the composition of the buildings façade. At this scale the teachers expressed surprise that the building was realised, and highlighted the symbolic attribute the building plays in the schools identity within the local community.

At the scale of the room both teachers described the material finishes and expressed their personal aesthetic preferences. Both teacher’s classrooms were situated on the top level of the school and they remarked about the windy and exposed orientation that the veranda had. Carmel Hurst described her experiences of teaching a class who could become distracted from the noise rain makes on the corrugated roof. Further to this she described the raw material selection of concrete ceilings and exposed fluorescent light fittings within the classrooms not being her aesthetic preference. In the Early Learning Centre both teachers described what they saw as a successful, well lit and naturally ventilated learning place. Carmel Hurst described how she liked the new addition and how it ‘fitted’ in with the existing residential structure. The descriptions of the teachers’ experiences and personal preferences reiterate the claim that the aesthetic and material decisions of a building’s design does influence a players experience and participation within the building. These experiences note that some of the aesthetic and material decisions did not create particularly uplifting internal settings.

Both teachers described their experiences of being in the ‘6 Oxley’ classroom, on the top-level southern end, as being their favorite classroom in the school. Figure 42 The teachers identified the natural light and aspect as experiences that they liked. Carmel Hurst described the composition of the southern wall with the triangular clearstory window framing the sky beyond. Figure 43 The experience of views framed by the building was described by both teachers. In describing these views Carmel Hurst noted her experience of always looking through or past an object which she may not have liked, such as the sun shading grills. Both teachers documented this experience. It is a combination of internal classroom organisation and the aesthetic composition

74

6"Oxley" !

This!is!my!favourite!room!in!the!school.!!It!is!the!only!classroom!in!the!school!which!has!two!doors.!!The! always!meant!that!there!was!great!airow!and!the!children!could!enter!through!one!door!and!leave! through!another,!a!bit!like!a!supermarket.!!I!really!love!the!skinny!window!that!are!at!the!end!of!the!room! which!frame!the!board.!!!

!

Figure 42a I Both teachers identified 6 Oxley as their favourite classroom in their school, photographs by Carmel Hurst

6"Oxley"("Great"natural"light."The"view"and"aspect"overlooking"the"city"is"fantas=c."My" favourite"room"in"the"school."

Figure 42b I Both teachers identified 6 Oxley as their favourite classroom in their school, photographs by Kerry Barris

75

View%from%my%room%

!

I!like!the!view!just!not!the!cage!that!is!in!the!front!of!it!

Figure 43a I Experience of looking out the teachers classroom windows, photographs by Carmel Hurst

Overlooking+Belmore+oval+/+I+enjoy+being+a+few+level+up+especially+on+a+clear+day+such+ as+this.+

Figure 43b I Experience of looking out the teachers classroom windows, photographs by Kerry Barris

76

of the classrooms, which influenced the teachers experience and determined their description of success. It was apparent that the teachers had different experiences in every room throughout the school and that despite the buildings apparent regularity of plan the spatial experience differed greatly.

Domain I Performance of Discipline Specific Tasks A second cluster of topics found in the photographs and annotations were the references to education specific activities and performances. I identified two common topics: ability of the teachers to perform education specific activities; and the environmental conditions of the learning places. I will discuss each topic.

Theme I Ability to perform activities In fifteen photographs the teachers identified specific activities and tasks that they performed in their workplace.

These activities included: facilitating group learning within the library; where teachers would position themselves in relation to their class to teach; how the teachers would store their equipment and display the children’s work; and the support and specialist teaching that occurred at the school. These comments reinforced the characterisation of pedagogical activities discussed within the literature.180 The teachers job, as an education professional, is characterised by a series of routine tasks and activities that are conducted within their workplace. The teacher’s photographs and annotations made clear that the physical enclosure of their workplace allowed them to perform some activities better than others. Teachers expressed frustration at not being able to position themselves, where they felt they should be situated, within their classrooms. Figure 44 Both teachers noted that there were different sized classrooms throughout the school and this presented particular challenges within each room. Kerry Barris noted that in his classroom, the smallest in the school, only a limited number of students could be near the board.

The value described here was that proximity between the teacher and their class was important to achieve the desired learning outcomes. Extending from difficulties that some teachers have in inhabiting their teaching place 180 Kenn Fisher, “Linking Pedagogy and Space,” ed. Department of Education and Training [Victoria] (Victoria2005); Woolner et al., “Getting Together to Improve the School Environment: User Consultation, Participatory Design and Student Voice; Whyte and Cardellino, “Learning by Design: Visual Practices and Organizational Transformation in Schoos.”.

77

My#classroom# #

Some%days%it%is%too%bright%to%work%with%the%blinds%open%so%down%is%the%only%way%to%go%

Figure 44a I Both teachers identified 6 Oxley as their favourite classroom in their school, photographs by Carmel Hurst

The$front$of$5$Mitchell$/$this$room$has$a$narrow$front$close$to$the$whiteboard$making$ it$diďŹƒcult$for$a$number$of$students$sit$close.$

Figure 44b I Both teachers identified 6 Oxley as their favourite classroom in their school, photographs by Kerry Barris

78

Kindergarten* !

The!rooms!on!the!Upper!Ground!level!have!concrete!blocks!outside!their!rooms!which!limits!light!and!fresh!air/!!

These!rooms!are!very!wide!but!lack!storage!and!wall!space.!

Figure 45 I Teachers adapt their professional activities given physical constraints of their classroom, photographs by Carmel Hurst

was frustrations about the difficulties teachers had of displaying children’s work within the classrooms. Carmel Hurst noted restricted wall space in some classrooms, whilst the concrete block material made it difficult to attach work to the wall. In other classrooms the photographs highlighted that children’s work was stuck to the windows or temporary pin-boards were lent against windows. Figure 45 The teachers valued displaying the work that the children in their class completed. Recognising, by displaying, the learning output of a child is one way of developing a child’s engagement within their learning place.181 The activity of displaying work on the walls makes explicit the learning processes occurring within the classroom, and also shows the teachers and children alike taking ownership of their work/learning place but that their physical setting did limit their capacity to perform routine professional tasks and activities.

Both teachers showed their desks and surrounding work area. Figure 46 Carmel Hurst emphasised that she could not position herself where she felt was best for her classroom. Kerry Barris noted that he had room for his desk and had a wide work area. There is no contradiction between these two apparently different perspectives. These comments reinforce the activity of education as a specific, unique and varied performance that is not delivered as a generalised or template procedure. Each teacher, responding to their class and their own professional perspectives, teach differently and inhabit their workplaces differently.

As noted by Elfa Lillis in her interview each room was equip with a Interactive Whiteboard (IWB) furthermore, there was evidence in the photographs of this technology, both written and digital, being used.182 This is in accordance with Elfa Lillis’ characterisation of her staff and technologically enabled teachers. The importance of IWB’s and other information technology within learning places is a trend noted by Clare Newton and other educationalists.183 The teachers acknowledge that technology is playing an increasing role within the learning environment which is best facilitated by meaningful integration with the building structure and educational practice.

The teachers, and their students, have fixed home-base classrooms where they would move from to complete 181 Critical ‘friend’ insight 182 Lillis, Elfa. Interview by Angus Hardwick. Extended Interview. All Saints Junior School Belmore, July 29, 2013.

183 Newton, "Disciplinary Dilemmas: Learning Spaces as a Discussion between Designers and Educators; Newton and Fisher, Take 8: Learning Spaces: The Transformation of Educational Spaces for the 21st Century; Newton and Gan, "Revolution or Missed Opportunity?; Newton et al., "More Than a Survey: An Interdisciplinary Post-Occupancy Tracking of Ber Schools."

79

My#desk#

!

I!prefer!my!desk!at!the!back!of!the!room!but!the!two!gas! heaters,!sink!and!only!viable!wall!space!make!it!a!very! crowded!space!

Figure 46a I Both teachers documented their workplace and personal desk, photographs by Carmel Hurst

My#desk#(#a#good#workspace#with#plenty#of#room#to#enjoy#my#work.#

Figure 46b I Both teachers documented their workplace and personal desk, photographs by Kerry Barris

80

various specialist activities, such as sport, music, or the library. This is consistent with the curriculum structure in NSW. Within the studies by Clare Newton and Mary Featherston the importance of furniture, fixtures and fittings within a learning place, for both the teachers and children alike, is noted.184 These authors discuss that appropriate furnishings allow the teachers to practice various pedagogical formations that they wish to. The photographs by the teachers showed three desk groupings: clusters of three or four, horse-shoe; and rows. Newton identifies that learning places designed as a shell allowed schools to solidify and adapt their pedagogical approach. It recognises that the design and use of these teaching shells are continuously developed over time.185 Featherston describes this as: “provide a ‘landscape’ of possibilities, where people and ideas may flow and connect.”186 The teachers were empowered to explain and express judgement on how they inhabit and use their teaching settings.

The teacher appear to be more empowered in commenting on their surrounding settings when they documented experiences at the scale of the classroom.

Within the routine activities that teachers performed it is interesting to note that whilst both teachers photographed and made reference to the verandah neither teacher discussed whether they used the area for outdoor learning.

Figure 47 It was suggested by Angelo Candalepas, Evan Pearson, and Elfa Lillis, that the interstitial verandah places were used as spill out teaching areas by the teachers. Teaching, as characterised by critical theory, is an activity that occurs within four walls, where teachers and children critically interrogate concepts and texts.187 The formation of the school curriculum as being outcome focused and testable means that teachers develop their teaching practices to meet these requirements. The possibilities of an exploded teaching model, where teachers and children may roam around their school and move beyond their home base classroom, may not be emphasised within an outcome focused testing system. The teacher’s actions are a product of these macro requirements within the education system.

81 184 185 186 187

Newton, "Disciplinary Dilemmas: Learning Spaces as a Discussion between Designers and Educators; Featherston, "Fit for Purpose."

Newton, "Disciplinary Dilemmas: Learning Spaces as a Discussion between Designers and Educators," 16.

Featherston, "Fit for Purpose," 45.

David Gruenewald, "The Best of Both Worlds: A Critical Pedagogy of Place," Educational Researcher 32, no. 4 (2003).

Verandah(Top(Floor(

I(took(this(photo(for(three(reasons.(Firstly(the(verandahs(as(very(wide(on(the(top(oor.(This(is(not(a(bad(thing( but(I(think(the(space(could(have(been(used(be=er(in(the(classrooms.(Secondly(the(corrugated(plas@c(roof(is( very(noisy(in(the(wind(and(rain(which(oAen(distracts(the(children(from(learning.(Finally(as(it(is(the(top(oor(the( verandah(is(a(wind(tunnel.(

Figure 47a I Both teachers documented their workplace and personal desk, photographs by Carmel Hurst

Verandah()(Level(2( This(is(a(great(place(for(students(to(eat(their(lunch(and(enjoy(the(fresh(air.(Some=mes( the(wind(up(here(is(a(li?le(dra@y!(

Figure 47b I Both teachers documented their workplace and personal desk, photographs by Kerry Barris

82

Theme I Environmental conditions of learning places The teachers both made comment of the lack of consistency in the environmental conditions that they experienced in their classrooms and other places throughout the school. The environmental conditions referenced were: lighting levels, temperature, and ventilation. For instance some photographs showed the quantity of natural light and the position of some classrooms as elevated above their surrounds created an enjoyable environment to teach in, this satisfied the both Pol Kouroushis’ briefing criteria, and the architects aspiration, for a working and enjoyable amenity with the workplace for the teachers.188 However, in other photographs, as identified by Carmel Hurst, the blinds had been pulled down because the light was too strong and were reliant on the artificial lighting in the classrooms. Whilst the activities of teaching and learning were not prohibited in these conditions it was clear that the teachers preferred well-lit teaching environments that were not exposed to direct sunlight. Often the level of natural light was discussed in conjunction with the natural ventilation of an area. Within the early learning centre, informed by the Reggio-Emilia education philosophy, the teaching places are easily opened to the outside play area. It was noted by Kerry Barris that the rooms were well ventilated however, that the amount of sunlight in the classrooms reflected off the whiteboard and the glare made it difficult for the children to see the content being taught. Within the same building it was noted that the natural lighting levels were appropriate to the tasks at hand.

Kerry Barris

Pre-kindy - another great room with plenty of sunlight and airflow.

These observations concerned with the daily functioning of the learning places affirm existing studies that particular environmental conditions are a contributing factor facilitating or prohibiting the learning of children.189 These studies also recognise that thermal comfort is achieved in a comfort zone which may differ slightly for each individual.

83 188 Candalepas, Interview by Angus Hardwick; Kouroushis, Interview by Angus Hardwick.

189 Horne Martin, "The Classroom Environment and Children's Performance - Is There a Relationship?; Paul Grump, Ecological Psychology and Children (Chicago: University of Chicago Press, 1975); Donna Fletcher, "Effects of Classroom Lighting on the Behavior of Exceptional Children," Exceptional Education Quarterly 4, no. 2 (1983). Helen Clark, Building Education - the Role of the Physical Environment in Enhancing Teaching and Research (London: Institute of Education Publications, 2001).

SUBJECT MATTER SCALE PHOTOGRAPH COUNT POSITION OF CAMERA IN RELATION TO SUBJECT MATTER PHOTOGRAPH COUNT

Built Form (+15m from camera)

Room (5m-15m from camera)

Object (up to 5m from camera)

14

26

13

On-grade frontal

Elevated and angled

18

7

On-grade angled 28

Table 6 I How the images were made, distance of photographed objects from the camera

Table 7 I How the images were made, camera orientation

Domain I Construction & Image Making A third grouping of topics I have identified is a discussion of how the photographs and annotations were constructed and how the images were made. Within this discourse I identified three topics: Teacher-child power relationships; structure of the photographs; and the structure of the annotations.

Theme I Structure of the photographs As I have discussed above, the photographs capture places and settings across a range of scales and distance between the teacher as photographer and the subject matter. Three scales of photographs were identified and are summarised in table 6.

Given that the photographs were taken from the perspective of the teacher it is no surprise that the majority were taken at the scale of a room. This reflects the likely lived experience the teachers have in their workplace.

The range of scales which the photographs accounted for indicate the empowered position the teachers were as they record their experiences of their workplace. The range of recorded experiences recognises that the teachers’ experience of their workplace was not restricted to their classroom and that they situated themselves in relation to a range of photographed settings. The teachers’ made an effort to frame each photograph and show the photographed setting in their entirety. This was regardless of the scale being photographed. Buildings were photographed showing their complete facades, whilst photographs of objects in a classroom were also framed and composed. The teachers’ desk was not cropped or truncated and instead shown in full. To communicate their experiences the teachers adopted three types of orientations which are summarised in table 7.

As discussed in my framework the photographs serve two roles: to explain the teachers’ surrounding setting; and to express a perspective on the documented subject matter. Within the frame of the camera the teachers would try

84

Thirdperson with description

Firstperson with description

Description with no person perspective

First- and Third-person combined with description

Secondperson with description

Carmel Hurst

10

11

3

3

1

Kerry Barris

19

6

0

0

0

Total annotation count

29

17

3

3

1

Table 8 I How the annotations were made, sentence structure

to capture as much of a designated area as possible. Thirty-five of the photographs were taken on an angle and this camera angle served the purpose of capturing a large extend within the frame of the camera to explain the perspective of the teacher.

Theme I Structure of the annotations In describing the teachers’ experiences the annotations served two roles: to explain, and to express an opinion about, the content of a photograph and the setting documented. Table 8 summarises the five narrative forms the teachers used to construct their annotations.

A key feature of the annotations was the description and explanation capacity that they served when read with the accompanying photographs. Each teacher had a different narrative structure preference for explaining their experiences: Carmel Hurst used a mix of third- and first-person perspectives; whilst Kerry Barris preferred a passive third-person narrative structure. Both teachers used their annotations for different purposes, reflecting how they understood the activity that they were performing. The annotations which were used as third-person description explained how various settings were occupied and used, whilst the annotations which positioned the teacher at the fore of the response explained their embodied experience and emphasised the nuances of their experience.

The teachers structured their annotations by titling or naming most photographs. Through the act of placing a title on the photographs the teachers revealed the parts of the school they considered to be ‘places’. Only three of the photographs were not given titles. Often the teachers referred to the photographed place as a proper noun: The Library; My Classroom; 6 Oxley; Inside the Gym. The significance of giving a place a name is that it emphasises that a teacher’s workplace comprises of a collection of known places, each a minor destination within the school

85

Figure 48a I Unnamed places, the planter boxes top Plan with photographed area highlighted in red (Image: Candalepas Associates)

campus. The 3 photographs that were not titled identified awkward spaces in the school or an experience that was not associated with a specific place. One of these unnamed space was the raised planter boxes. Figure 48 The use of proper nouns as the structure of the annotations did not provide information of the teacher’s experience the photograph documented and the annotations were required to further understand this experience.

86

Even%room%for%raised%garden%beds!%%These%are%at%the%back%of%the%library.%%This%space%is% rarely%used.% %

Figure 48b I Unnamed places, the planter boxes photographs by Carmel Hurst

Garden'Bed')'The'gardening'club'enjoy'growing'vegetables.'Apart'from'a'couple'of' trees'in'the'playground'it'is'the'only'greenery'at'the'school.''

Figure 48c I Unnamed places, the planter boxes photographs by Kerry Barris

87

Key Player Angelo Candalepas Elfa Lillis Pol Kouroushis Evan Pearson

Interview Length

Players Role

Interview Date

Interview Location

Architect Director

July 16, 2013

Candalepas Associates Level 9, 219 Castlereagh Street, NSW

July 29, 2013

All Saints Grammar Junior School, Belmore, NSW

1:15

July 29, 2013

All Saints Parish Gymnasium & Boardroom, Belmore, NSW

1:40

July 30, 2013

Candalepas Associates Level 9, 219 Castlereagh Street, NSW

1:40

The Client Head of Junior School Developer Client Chairman, Parish Board of Directors Architect Design team member

1:35

Table 9 I Interview Details

Project Incidents & Processes Legal Implications & Oblications

Building Performance Intent

Process

Success Communication Reputation

Reputation

Process

Inter-organisation

Professional Concerns Discipline Specific: Education

Discipline Specific: Architecture

Intra-organisation Relationship Driven Concerns

KEY Themes Domain

Figure 49 I Interview Domains & Themes

PLAYERS I THE ARCHITECTS, CHAIRMAN, AND HEAD OF JUNIOR SCHOOL Tool 3 – Semi-structured Extended Interviews Following from the list of project players identified in the methodological domain four semi-structured extended interviews were conducted.190 Table 9 sumarieses these interviews.

Within the detailed and complex data gathered from these four semi-structured extended interviews I identified a number of themes. Whilst there were many themes that emerged in each interview common themes were identified when two or more players responses referenced the same theme. Through clustering the identified themes I found three broad domains that organised the individual themes. These three domains included social relationship structures; project specific processes and events; and concerns related to specific professions namely architecture and education. These domains, their associated themes, and the relationship between each theme are mapped in figure 49. The following section unpacks the identified domains and some themes that relate to the children’s and teachers experience in their learning place. The themes provide significant insights into the design and procurement of the All Saints School, and reveal the organisational structures which influenced the development and realisation of the project.

Domain I Relationship structures I identified inter-organisation relationships; intra-organisation relationships; reputation; and generic organisation process as four common topics which related to a broader discourse of structures and power hierarchies driven by specific relationships.

88 190

Refer to p42 for a list of identified project player roles

Theme I Inter-organisation relationships Six types of inter-organisation relationships were discussed by the respondents, these included: parish and architect; community and parish; parish and authorities; architect and builder; architect and authorities; and, architect and architectural profession. The first of these relationships: the parish/architect relationship was built on an established connection before the primary school project was specifically commissioned. Angelo Candalepas had been a part of the All Saints Parish community since his childhood. He had previously been a secretary on the Board of Directors. Due to the active role that he played in this community he had intimate knowledge of the board’s aspirations to relocate the primary school. Prior to the project receiving development application (DA) approval in 2004 Angelo Candalepas had provided advice to the board to assist them in realising their aspiration of moving the primary school closer to the church. As Angelo Candalepas was ‘already there’ and not an outsider to the community the engagement and briefing process was perhaps not as formal as other projects Candalepas Associates have been engaged on.

Angelo Candalepas

There were sixteen people [on the Board of Directors]… my dad was one of them.191

As a key player Angelo was able to exert influence in securing the project because of his proximity to the centre and decision makers of the All Saints parish organisation. Candalepas Associates was one of two competing bids for the junior school project however based on Pol Kouroushis and Angelo Candalepas’ recount it does not appear to have been a tough battle to ‘win’ the job. ‘Commitment’ was a word that Angelo Candalepas used to describe the two-way relationship between himself and the Parish board. This close engagement affirms the discourse of personal relationships that reach beyond an architect’s fulfillment of a commissioned brief, and potential committee politics, as a way of producing an excellent building.192 Angelo Candalepas’ stated commitment to the parish community, because of his personal and emotional relationship to the parish, meant that completing a building of excellence for the community was important for him as much as it was members of the board. All players had a direct stake in the outcome of the design process.

191 192

Candalepas, Interview by Angus Hardwick.

Andy Pressman, The Fountainheadache: The Politics of Architect-Client Relations (New York: John Wiley & Sons, 1995), 103.

89

The parish and architect relationship was also described in terms of trust. Trust was referred to in reference of the role of the architect for designing the building as an artistic endeavor. This dialogue engages with an accepted worldview where the architect is the purveyor of aesthetics and good design. The aesthetics of a building were considered by Angelo Candalepas, Pol Kouroushis and Elfa Lillis to be the domain of the architect. This highlights the traditional roles of the architect as designer and client as silent observer, as descending from the residential architect and residential client relationship, were still embraced by all players.193 Further it highlights that the autonomy of the architect to perform a select range of activities and tasks was maintained.194

Pol Kouroushis

The aesthetics, the form of the building, how it was going to look yes I trusted Angelo.195

The parish’s association with the wider community was a second inter-organisation relationship. This relationship concerned the parish board with the Belmore Residence Action Group. Hostility and tensions arose from the decision by the parish, as a private organisation, to develop the land they owned. These objections relate to a context where religious groups and their activities are perceived to be public organisations and need to be conscious of all individuals and their concerns, whether they are members of the community or not. The parish however operates as a private organisation and do not see themselves as accountable to local residences. The action group raised concerns such as the scale of the proposed building, traffic concerns, and the restricted playground size.196 The interview respondents spoke of the engagement between these two organisations in first person. The positioning of the individual, ‘I’, at the centre of these organisations emphasises that organisation form from a collaborative pursuit of specific goals by like-minded individuals.197 The distinction between the obligations of the parish as a private organisation wanting to develop its land, and the expectations of its responsibilities by some members of the local community proved to be a point of confusion. The parish followed council requirements in preparing its submission to develop the land however it did not consult the community.

There is a current worldview where all individuals who interpret, from their own position that they have a stake in 193 The Fountainheadache: The Politics of Architect-Client Relations (New York: John Wiley & Sons, 1995), 1-2.

194 Blau, Architects and Firms: A Sociological Perspective on Architectural Practice, 50-52.

195 Kouroushis, Interview by Angus Hardwick.

196 Ibid; Lillis, Interview by Angus Hardwick.

197 W Richard Scott, Organizations: Rational, Natural, and Open Systems (New Jersey: Prentice-Hall, 1981), 9.

90

a project, have a right to be consulted with before change occurs within their environment. For a later project, the All Saints School Gymnasium, Pol Kouroushis said that the parish did engage in its own process of consultation however, he felt that this did not change the outcome or abate the concerns of the action group.

Pol Kouroushis

I put on the table: ‘should we have a community consultation?’ The response was ‘no’ … So we didn’t have a community discussion and I think that backfired.198

The architect and builder relationship was another relationship identified. Evident in the interviews was an affirmation of the traditional roles within the building process. The contract used in this project was a lump-sum major works contract from the AIA Australian Building Industry Contracts (ABIC) where the architect administered a contract on behalf of the client with a builder selected through a competitive tender process. This contract structure allowed Candalepas Associates to maintain the traditional stereotype of the architect in charge of a construction site, characterised through Ayn Rand’s Howard Roark character. This characterisation was referenced by Angelo Candalepas in his recount of the demolition process where several houses owned by the parish were demolished to form the site that the school was built on.

The reality of the construction process as a collaborative event was recognised by all participants. Further it became clear that the architect and builder relationship was often not as clear or direct as the client and architect relationship. This is because the builder was not one organisation rather a collection of smaller organisations, subcontracted to by the main contractor, Soz Constructions. Evan Pearson and Pol Kouroushis noted that in some places the material finishes, specifically concrete quality, was of a poor standard.199 Whilst Pol Kouroushis as representative of the client identified the weather as a reason for variations in quality, Evan Pearson identified the skills-base shortage within the Sydney construction industry for small scale in-situ concrete. Evan Pearson’s comments draw on two separate discourses. Firstly the aesthetic qualities and construction craftsmanship 198 199

Kouroushis, Interview by Angus Hardwick.

Ibid; Pearson, Evan. Interview by Angus Hardwick. Extended Interview. Candalepas Associates Castlereagh St Sydney, July 30, 2013.

91

Parish Priest Reverend Father Christos Triandafyllou

Primate of the Greek Orthodox Church of Australia Archbishop Stylianos Christos Tsioulos George Apostolopoulos Angelo Candalepas John Englezos Christos Georgiou Stellios Theodorellos Athanasios Tsioulos

Afternoon Religious Lessons Board of Trustiees Chairman: Christos Candalepas

Board of Directors

Parish Football Team

Greek Dancing Polycarpos Kouroushis Chairman Ladies’ Auxiliary

John Hronopoulos Lambros Hillelis Christos Candalepas Costa Rafeletos Dimitrios Rahiotis Bill Sotiropoulos Sozos Sozomenos Panagiotis Karounis Chris Georgiou Fotios Stringas Branka Kouroushis Helen Kaklamanis-Tsandidis Charoulla Themistocleous Harry Triandafyllou Nicholas Hatzis Kyriakos Tsihlis

Justice Robert Neville Talbot Justice Jeremy Bignold

David Winterbottom Independent Planner (LOCALPLAN)

Land & Environment Court

Australian Federal Government (BER Program) Belmore Residence Action Group

ox Archdioce thod mmunity of Belose of Aus r O o re an tra ek nd C dD i lia Gre ish a

Robert Furolo MP for Lakemba (NSW) Fmr Mayor, Ciry of Canterbury

Par

All Saints Grammar

stri cts

Senior School (Belmore) Years 7 - 12

Canterbury City Council

her)

Primary School (Belmore) Pre-Kindergarten Year 6

(Fat

(Mot

her)

37 objecting residences

(Graduated 2000)

Angelo Candalepas Architect (Candalepas Associates) Landscape Architect (Taylor Brammer Landscape Architects) Structural Engineer (OPUS International) Builders (Soz Developments) Hydraulic Engineer (Whipps Wood Consulting) Electrical + Mechanical Engineer (HBA Consulting Engineers)

Cost Consultant (Steve Watson & Partners)

Michael Sozomenou Terry Sozomenos Messrs Sozos Vice-Principal Elfa Lillis Principal Anthony Tsoutsa Junior School Staff Carmel Hurst Kerry Barris

Legend Parish Community Design & Construction Team

Senior School Staff

Users Interest Groups People

Figure 50 I Some of the intraorganisation associations within the All Saints Junior project network

are considered to be hallmark features, broadly accepted within the architecture profession, of architects who practice in a restricted field of production.200 These architects are characterised by intellectual and aesthetic qualities.201 Angelo Candalepas stated the importance he assigns to precision within the construction of his firms buildings.202 Secondly Evan Pearson identifies that the further they, as architects administering the project contract, are from the organisations who conduct the work, the harder it is for them to ensure quality. This is consistent with characterisation of organisations being able resist external demands where there is a dense web of relationships.203

Evan Pearson We try and sit down with the builder and discuss it [off-form

concrete]. At the end of the day it is the builder and their subcontractor204 Understanding and mapping the inter-organisational relationships forms an important understanding of the All Saints Junior project. These relationships are revealed to be complex and multi-faceted. Figure 50 graphically illustrates some of these inter- and intra- organisational relationships. This mapping reveals that in the delivery of this project many players, other than the teacher and children, had significant input. This inter-organisation mapping reveals that there are many other human and non-human actors that impacted on the design and procurement process at All Saints.

Theme I Intra-Organisation Relationships The interviewed players came from two organisations, All Saints Parish Community and School, and Candalepas Associates. However two different experiences in these organisations were presented. Firstly, the intraorganisational structure of the All Saints Parish Community and School demonstrated a clear hierarchy of responsibility and authority. This hierarchy was brought to bear on the design and development of the new All Saints Junior School. Figure 50 maps some of the organisational structures and hierarchies that were understood 200 Stevens, The Favored Circle: The Social Foundations of Architectural Distinction, 81-85.

201 The Favored Circle: The Social Foundations of Architectural Distinction, 83.

202 Candalepas, Interview by Angus Hardwick.

203 Rowley, "Moving Beyond Dydaic Ties: A Network Theory of Stakeholder Influences."

204 Pearson, Interview by Angus Hardwick.

92

to exist in the All Saints parish and school. At the head of this organisation Pol Kouroushis is the chairman of the board of directors. He has been the chairman since 2000 and is responsible to the decisions and direction of the board. In a professional capability he is am electrical engineer in middle management at Telstra. The board of directors has a broad skill base that includes parish church representatives, solicitors, real estate agents, educators, funeral directors, business people, and architects. The board of directors is responsible for overseeing the All Saints School, and community groups such as the Ladies Auxiliary, Greek Dancing classes, Saturday Schools, community football team. The All Saints School Principal is Anthony Tsoutsa and he is responsible for the running of the All Saints School, both senior and junior. Elfa Lillis is the Head of Junior School and responsible to the daily organisational direction of the junior school.

Pol Kouroushis

The board of directors is the governing body. At some stage we had a separate school board which was called the board of governors but that no longer exists.205

This organisational structure is important because all decisions in the project were made by, or finalised by, Pol Kouroushis in his role as chairman. In this position he was the person with the most authority and ability to affect change and decisions. Angelo Candalepas had previously been a member of the Board of Directors and his family, as one of the founding families of the parish community, are represented on the Board of Trusties.

Elfa Lillis

It required a lot of sacrifice and a lot of commitment from the president of our parish [Pol Kouroushis], who really did push this [the junior school building] and steam rolled it to get it done.206

In her role as Head of Junior School Elfa Lillis has assembled a mixed teaching staff team who come from a range of geographic areas, are “a good mix� of males and females, operate as a cohesive team, and are technologically 205 206

Kouroushis, Interview by Angus Hardwick.

Lillis, Interview by Angus Hardwick.

93

University of Newcastle Newcastle

University of Sydney Sydney

Andrew Scott

McBride Charles Ryan Tutor Masters of Architecture Graduate Studio

David Neustein B Arch

David Mitchell Senior Associate B Arch (Hons)

University of NSW Sydney University of Technology Sydney Graduate (B Arch Hons)

Evan Pearson Senior Associate B Arch (Hons) All Saints Junior (Belmore)

David Tordoff (Project Architect)

Andrew McCloskey Thomas Hale Stefano Bedetti Martin Christensen David Mitchell Marco Damic

NSW Government Architects Office Jahn Associates

Edwards Madigan Torzillo Briggs

Candalepas Associates

Angelo Candalepas John Wilkin Practice Director Practice Director

Martin Pickerell Design

President (2011)

Rick Joy (USA)

Col Wilkonson

Black Talks Australian Architecture Association

Janet Grey

Perry Park Competition (Alexandria)

Wendy Lewin

Teresa Moller (Chile) Luis Mansilla (Spain) Fumihiko Maki (Japan) Lisa Iwamoto (USA) Juhani Pallasmaa (Finland) Francois Roche (France) Manuel Aires Mateus (Spain) Luis Callejas & Sebastian Mejia (Columbia)

Glenn Murcutt Cullen Aalhuizen House

The Point (Pyrmont)

International Series Lectures Head Curator Australian Institute of Architects National Conference Creative Director

Alberto Campo Baeza (Spain) Francisco Mangado (Spain) Valerio Olgiati (Switzerland) Kevin Mark Low (Malysia)

Legend Institution Previous Employment Professional Associations Projects People

Figure 51 I Candalapes Assocaiates, some networks and associations

equipped and skilled.207 She has assembled a team that is open to a diverse range of teaching approaches and is concerned with delivering the best possible education to the students. The dynamic relationship of teaching staff and education program is constantly being adjusted to deliver the best possible education for the children.

Since the school moved to its current site the teaching of music has expanded and a strings program has been established. The gifted and talented and support services offered to students has also expanded. This dynamic intra-organisation is significant because it makes clear the organisational context that the All Saints building was supporting. There was a clear attitude within the teaching staff that was open-minded and prepared to reassess their teaching practices as an evolving activity.

The second intra-organisation relationships discussed in the interviews was that of Candalepas Associates. Figure 51 reveals a partial mapping of the associations, influences, alliances and history of Candalepas Associates.

In this organisational structure Angelo Candalepas, as one of the two directors, positions himself as an active company leader who accepts commissions for future projects. This mapping is significant as it identifies some of the existing relationships and hierarchies that affect the operation of Candalepas Associates as an organisation.

Angelo Candalepas

‌ it sounds really strange, but all I do is receive calls for work. It has to do with what I have produced ‌ 95% of the work that is the result of this office has been as a result of just the last project.208

At the time of the interview Candalepas Associates is made up of a team of approximately 32 people who work to deliver the projects. Evan Pearson discussed the traditional hierarchical structure of the practice with the two directors, his role as a senior associate, the associates below him and then the team of graduates and architects who work below that. Each member of this organisational structure has a specific role and responsibility. Evan Pearson identified that Angelo Candalepas was across all projects and made final decisions before a drawing was released to a client. The working environment was described by Evan Pearson as being collaborative and 207 208

Ibid.

Candalepas, Interview by Angus Hardwick.

94

Figure 52 I Children at All Saints Grammar performing routine activities such as playing sport (Image: Brett Boardman)

open. This characterisation appears to be at odds with the hierarchical, design-director, presented by Angelo Candalepas. However it is not a contradiction rather it reveals the complexities inherent within an organisations structure, the company is both collaborative in the development and delivery of a design, and hierarchical in taking direction from Angelo Candalepas and John Wilkin in following their design orientations.

Angelo Candalepas

…I am just so single minded. I am very difficult to work with. I think everything is wrong all the time.209 Domain I Project specific process and events

The domain of project specific processes and events incorporated five common themes as relating to the project and its specifics I identified five common topics: project intent; specific project process; communication; building performance; and legal. This section will focus on the theme of project intent as identified by the interviewed players. These motivating intentions are key in considering the design of All Saints and in correlating the lived experiences of the children and teachers with this awarded building.

Theme I Project Intent & Aspirations From the perspectives of the interviewed players there were many intentions and aspirations for the All Saints school which operate on many levels. These intentions included the pragmatic functioning of a school, embodying a community aspirations, and intentions for the mode of architectural practice. A pragmatic intention and aspiration for the All Saints building was that it would support the daily functions and actions of a school. The interviews revealed a consistent aspiration for a school what ‘worked’. Figure 52 If the school functioned it would allow key players to perform their routine roles and actions with ease. This means teachers being able to teach, and children being able to learn. The school’s board of directors considered that the education facilities had a clear purpose, 209 Ibid.

95

Figure 53 I All Saints Parish community. Parish church, gymnasium, and junior school.

(Image: Carmel Hurst)

to facilitate a setting in which successful learning could occur. This intention was specifically focused on the classroom units. This intention arose out of the schools previous situation sited in Lakemba. These facilities did not allow the teachers to teach how they wanted to. For instance, because of limited area, group activities could not be incorporated into the teaching pedagogy.

Pol Kouroushis

We wanted a school that would be fit for purpose.210

In the design of the building Angelo Candalepas discussed how his firm focused on the teachers as key clients and intended to design a successful workplace for the teaching staff. The teachers enjoyment of their workplace was emphasised, implied in this is that the are able to perform their daily routines and actions. Candalepas Associates positioned this assumption, that the teachers are the most important player in a school, at the centre of their design.

Angelo Candalepas

‌what you are doing is building a school for teachers because the children are ‌ the product from the inspiration from the teachers.211

Possibly more important, from the perspective of the Board of Directors and members of the All Saints parish community, were the cultural intentions and aspirations embodied in the project. Figure 53 Pol Kouroushis used metaphors to describe the aspiration of a school which complimented the parish church and focused attention on the parish church as the centre of the All Saints community. These cultural intentions were manifestations of specific personal ideas. Pol Kouroushis discussed his vision for the All Saints parish and how he had focused his attention on cultivating an aspiration which physically brought together the parish community to form a tangible and identifiable centre.

96 210 211

Kouroushis, Interview by Angus Hardwick.

Candalepas, Interview by Angus Hardwick.

Pol Kouroushis

I always look at the church as a diamond and I had this vision of this school surrounding the church to make a jewel.212

Embodying cultural aspirations within a designed building is a practice intention of Candalepas Associates.

The designed buildings and propositions produced by Candalepas Associates are intended to be examples of architecture as an artistic practice. In communicating these practice intentions Angelo Candalepas would use metaphors to art, such as music, poetry, and painting, to emphasise an aspiration for designed buildings which were embraced by their surrounding community. In achieving this aspiration Angelo Candalepas identified the professional responsibility of architectural practice to a buildings civic responsibility rather than a clients requirements. This characterisation is representative of the post WWII debate within the practice of architecture as identified by Judith Blau.213 The conflict between architecture as an artistic practice, architecture as a professional endeavour of serving a client, and architecture as designed for its users.214 Angelo Candalepas revealed his perspective on architecture as a practice that oscillates between all three spheres. He emphasised through metaphors and descriptions his design process, the importance of clients and the strong personal relationship that would be established, and role of the architect who designs for a buildings users.

Angelo Candalepas

‌we actually don’t just perform for our clients, we have the greater public to consider ‌ it means if there is a decision to be made that prioritises your client over the greater benefit you must not make that decision.215 Theme I Process

A common theme which emerged in the responses of all interviewed players was their discussion of the design and procurement process of the All Saints project. The design of the school and scope of building program included in the brief evolved in response to legal and budgetary constraints. The initially school brief 212 Kouroushis, Interview by Angus Hardwick.

213 Blau, Architects and Firms: A Sociological Perspective on Architectural Practice.

214 Architects and Firms: A Sociological Perspective on Architectural Practice, 8-10.

215 Candalepas, Interview by Angus Hardwick.

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included designing an underground gymnasium and included a larger carpark. Both Pol Kouroushis and Angelo Candalepas discussed how the scale of proposed excavation works increased the required budget to build the school, something which the All Saints parish community was unable to do. In parallel to the parish’s restricted budget was the influence of the Belmore Residents Action group. The Belmore Residents Action group objected to the development application (DA) consent given to the project by Canterbury City Council in October 2004.216 This action group challenged the decision in the Land and Environment court and the court found in favor of the action group, that the proposal did not meet Canterbury City Council guidelines for floor-space-ration. The Belmore Parish board of directors resubmitted the design adjusted by removal of the underground gymnasium and smaller underground car park. There were not adjustments to the designed form ‘above ground’. These adjustments saw the building receive DA approval from Canterbury City Council for a second time. This project story describes two influences on the process of the design of the school, the parish communities budget and the legal obligations required for building approval. The parish’s aspiration to accommodate a range of learning places and educational services in the schools design drove the decision to include these underground areas. Their ambition was restricted by the funds that they had available. The second influence, the community action group and the Land and Environment Court, was not motivated by a concern for the quality of learning places the school provided rather the buildings compliance to existing council codes.

Angelo Candalepas

We started with a building that was partially underground, … there was a gymnasium and we couldn’t afford that, we couldn’t afford a carpark that was enormous …217

A second influence on the design of the All Saints school was the consultation process between Candalepas Associates as appointed architects and the teaching staff of All Saints Grammar Primary School.

Elfa Lillis

He spoke to the staff to get their idea, to find out who they are and to get a context.218 98

216 David Winterbottom, "Report to Canterbury City Council on the Development Application at Isabel & Cecilia Streets Belmore for Schools," (Localplan, 2006).

City Development Committee, Minuets of the Meeting of the City Development Committee, October 14 2004.

217 Candalepas, Interview by Angus Hardwick.

218 Lillis, Interview by Angus Hardwick.

Figure 54 I All Saints Junior northwest facade corner detail, timber screens and concrete blades.

Design aesthetic and materiality decisions are pre-determined according to Angelo Candalepas.

(Image: Brett Boardman)

During the design process Candalepas Associates held two days of consultation with the schools teaching staff.

During this process they established an understanding of the teaching staff’s aspirations for their future workplace and developed an understanding of the daily teaching activities that occurred within the school. This included identifying where children stood or sat in relation to a classroom teacher; what behaviors did the teachers want to discourage in the children; and how a playground operated during recess and lunchtime.219 The two experiences of teachers documented through the photographic exercise of this thesis revealed that the teaching staff had frustrations about where they could position themselves in their classrooms and their ability to display work on the walls. It would appear that there were difficulties translating what the architects heard, or understood of the daily activities the teachers conducted, into the finished building.

Angelo Candalepas

We don’t do options … We present a scheme.220

The development of the buildings design, both programmatic organisation and aesthetic articulation were considered to be the domain of Candalepas Associates. According to Angelo Candalepas the process that his firm follows suggests that their way of working and detailing a building is predetermined and informed by the observations they make during the design process. The professional territory of the architect of being concerned with the material articulation and aesthetics of a building is emphasised through these processes. Figure 54

Angelo Candalepas

It is not a decision [aesthetic choices]. I think that is just what happens. I don’t decide it, I think it is decided [by your character].221

The board of directors refined experiences gained through the construction of the All Saints Grammar High School in 1999. This included the administering of contracts, engaging an architect, and consulting with teaching.222 In this process the final decisions resided with the Board of Directors in consultation with Candalepas Associates.

In the procurement of All Saints, as a result of “cost blow out in the tenders”, the board of directors organised the 219 Candalepas, Interview by Angus Hardwick.

220 Ibid.

221 Ibid.

222 Kouroushis, Interview by Angus Hardwick.

99

demolition and clearing of the site to occur before a construction tender had been awarded.223 From these insights into the process of the All Saints design and procurement we can see that a range of diverse influences impact on the final product. Key in process are the aesthetic orientation of the architects, constraints as determined by the project budget and legal obligations.

100 223 Ibid.

Cultural Value

Design Orientation

Urban Response Project Specific Technical: Materiality Procurement Process

Reputation

Architectural Practice

Aspirations

KEY Themes Domain

Figure 55 I Domain and theme mapping of published perspectives

PLAYERS I PUBLISHED PERSPECTIVES Tool 4 – Text Analysis The fourth mode of case study investigation identified in figure 30 is the investigation of primary and secondary source perspectives published about the case study project, the case study school and the case study architects. The discourse relating to the All Saints building, community organisation, and Candalepas Associate’s architectural practices has occurred within print media and architecture specific publications. A survey of reviewed sources identified two main domains in which discourse was generated. Appendix x The domains related to the specifics of the All Saints project, and to the activities of Candalepas Associates as an architectural practice. In each domain a series of themes were identified in the discourse. Figure 55 maps the identified domains and their related themes. In the following section the domains of discourse surrounding the use of the All Saints building will be discussed.

Domain I Project Specific Although All Saints was completed and opened in 2008, relatively little formal discourse has been generated about the project with only one formally published review being found.224 However the project was discussed by secondary sources in local media publications such as newspapers and radio.225 These sources often spoke directly with the architect, or a client representative in forming the published perspective. The themes identified within this domain include cultural values associated with the building, procurement process, technical process specifically materiality, and themes relating to the buildings civic and urban form contributions. Figure 55 I will discuss the themes of associated cultural value as it represents an experience of the All Saints building in use.

101 224 Maryam Gusheh, "All Saints [Belmore, Australia]," Architecture Australia 99, no. 4 (2009).

225 Jenny Ringland, "School Wins in Community," The Daily Telegraph, 2009 Jun 19 2009; Elizabeth Farrelly, "Everyone Wins as Kids Divide Lollies," The Sydney Morning Herald 2009; Janne Ryan, "Bydesign - Visit a Prize-Winning School," in ByDesign (http://www.abc.net.au/radionational/programs/bydesign/visit-a-prize-winningschool/3056100: ABC Radio National, 2009); Lisa Carty, "Mayor Accused in School Row," Sydney Morning Herald, January 11 2009; "All Saints Primary School by Candalepas Associates," in Specifier (http://www.specifier.com.au/projects/education/49871/All-Saints-Primary-School-by-Candalepas-Associates.html: Specifier, 2004); Ringland, "School Wins in Community."

Figure 56 I All Saints Parish church and gymnasium.

(Image: Carmel Hurst)

Theme I Community The All Saints School is one visible component of a larger All Saints Greek Orthodox Parish community. The project was largely funded from revenue of the sale of community assets, with one stated aspiration of the project was to create a physical centre and place for the community. In her review for Architecture Australia Maryam Gusheh describes the buildings location in proximity to the parish church. The parish church is presented as the geographic centre of the All Saints community even though it is not the geographic centre of Belmore or the wider Canterbury City Council municipality. The pride that the All Saints school has in its award winning junior school building is evident on their website which identifies the architects and provides a link to Maryam Gusheh’s review.

Maryam Gusheh

Inherent in this modest yet assured project by Candalepas Associates are architectural strategies that strive to infuse this suburban situation with the experience of ‘community’.226

Architecture Australia defines its role, as the national magazine of the Australian Institute of Architects, in the promotion and record of contemporary Australian architecture.227 As a magazine representative of the architecture profession the review’s emphasis on the community’s pride at All Saints highlights an accepted professional motivation of contributing to a building’s cultural and community context. Figure 56 The professional priority of designing buildings which have perceived cultural and community value was emphasised in the 2009 jury citation for the Sulman Award for Public Architecture. 228 The citation prioritises the buildings materiality, identified public spaces within the project, and the building’s relation to the All Saints Greek Orthodox Church over specifics of the building’s function or use.

The attention that the architecture profession gives to the cultural and community symbolism of the building is contrasted with perspectives reported by news organisations such as The Sydney Morning Herald.229 Here the 226 227 228 229

Gusheh, "All Saints [Belmore, Australia]," 65.

"Architecture Australia: About," Architecture Media, https://www.architecturemedia.com/aa/.

Sam (Jury Chair) Marshall, "Nsw Architecture Awards 2009: Public Architecture," Architecture Bulletin 2009.

Carty, "Mayor Accused in School Row."

102

building is discussed as a project much debated by residential members of the Belmore community who may not consider themselves to be part of the parish community. Objections to the All Saints project by the Belmore Residents Action group are documented in the records of Canterbury City Council.230

Lisa Carty

Action group treasurer Dr Lesley Muir said the school ignored local planning codes and had destroyed a “quiet and pretty” neighbourhood.231

Education themed publications within the architecture discipline have emphasised the role that schools play in a community’s structure.232 The attention of the architecture profession to the All Saints communities pride in their primary school building emphasises the values of the profession. While the perspectives of the building’s detractors have been documented, the continued investment in the physical infrastructure of the All Saints Parish community demonstrate tangible benefits to the community that the architecture profession aspires to in the use and function of their designed buildings. In discussing the All Saints building within a professional context its community and cultural use is prioritised over the profession’s concern for the educational and pedagogical facilities that the children and teachers experience.

103 230 Minuets of the Meeting of the City Development Committee; Winterbottom, "Report to Canterbury City Council on the Development Application at Isabel & Cecilia Streets Belmore for Schools."

231 Carty, "Mayor Accused in School Row." 232 Schittich, Concept Building for Children; Hannah Lewi et al., "Making the Modern Community," in Community: Building Modern Australia, ed. Hannah Lewi and David Nichols (Sydney: UNSW Press, 2010); Justine Clark, "Editorial: The Schools Issue," Architecture Australia, September/October 2007.

Case Study 2 - PEGS Senior I Section 2

Overview The second case study presented is a partial application of the investigative model. Most notably, due to organisational limitations, the documented experiences of the children and teachers at PEGS is absent. This application of the investagative model is mapped in figure 57. The experiences captured include four semistructured extended interviews conducted with the project architects, school vice-principal and the construction project manager to reveal the project’s intent, development and use; and an analysis of some published material and perspectives on this architecturally awarded building. From the experiences captured only tentative conclusions about the lived experience of the children at PEGS Senior can be drawn. Further to this the experiences documented prioritise the aspirations and intent of the commissioning clients and architects and are filtered through an adult perspective. However these perspectives offer valuable insights into the this awarded building’s intentions and aspirations as well as revealing the influence of organisational structures on the design and procurement. This case study will consider the experiences and perspectives of: • Players I The Architects, Client, and Project Manager • Players I Published Perspectives

104

RESEARCHER

Life Architecturally -Britt Arthur: Mago Films

Hon Michael Kirby -Opening Speech

TEX TA N

INVESTIGATION TOOL (eg extended interview)

S IEW V R TE IN

PEGS SENIOR

Debbie Lyn-Ryan Daniel Griffin

EXT E N DE D

PEGS SENIOR

Nina Bilewicz

POINTOF V IEW

CAPTURED EXPERIENCES (results)

DS OR &W

Christine Phillips (review) -ArchitectureAustralia -AR: Architectural Review Australian Institute of Architects (citation) Stephen Crafti (review) -The Age The Infinity Building Eps 3&4 -Ron Brown: ARCHITel.TV

ENGAGED PROJECT PLAYER (eg school vice-principal)

DRA WI NG S

IS YS L A

APHS OGR OT PH

RESEARCH STRATEGY

105

Robert Hamilton

Figure 57 I Investagative model applied to PEGS Senior case study

Key Player

Players Role

Interview Date

Debbie-Lyn Ryan

Architect Principal architect

August 20, 2013

Nina Bilewicz

The Client School Vice Principal

August 21, 2013

Robert Hamilton

Main Contractor Project Manager

August 21, 2013

Daniel Griffin

Architect Design team member

August 26, 2013

Interview Location McBride Charles Ryan: 4/21 Wynnstay Road, Prahran, Victoria PEGS Senior School, 131 Rachelle Road, Keilor East, Victoria PEGS Middle Girls Construction Site Offices: Keilor East, Victoria The Foundry Cafe: 8 Hill Street, Surry Hills, NSW

Interview Length 1:35

0:55 0:55 1:00

Table 10 I Interview Details

Project Incidents & Processes Success Process

Briefing Building Performance

Reputation

Communication

Inter-organisation

Professional Concerns Discipline Specific: Education

Intra-organisation Aspirations Relationship Structures

Discipline Specific: Architecture KEY Themes Domains

Figure 58 I Interview Domains & Themes

PLAYERS I THE ARCHITECTS, CLIENT, AND PROJECT MANAGER Tool 1 - Semi-structured extended interviews Following from the list of potential project players listed in the investigation model I conducted four semi-structured extended interviews which are summarised in Table 10. Following the same protocols used in case study 1, I identified key themes within these semi-structured extended interviews where two or more players discussed the same issue. I found that clusters of similar themes formed macro-themes or domains. I identified three specific domains that grouped these themes. The topic areas that the interviews addressed were the same for both case studies and accordingly the three domains emerging from the interview themes were the same as those identified in case study 1: relationship structures; project processes and incidents; and concerns related to specific professions namely architecture and education. These domains and their clustered themes are graphed in figure 58. I will unpack the identified themes within the three stated domains as they relate to the projects design, procurement and use.

Domain I Relationship Structures I identified inter-organisation relationships; intra-organisation relationships; communication; and aspirations as four common topics which related to a wider domain of organisation structures and common inter-person concerns and interactions.

Theme I Inter-organisation relationships Three inter-organisation relationships were referred to by the interviewed players, these relationships were between: the school control/client group and architect; the school and main construction contractor; and main

106

St John’s Uniting Church Essendon Uniting Church of Australia Victorian Synod

PEGS School Council Bruce Henderson (Chairman)

Moonee Valley City Council

Australian Federal Government (Building the Education Revolution Program)

ing Church Australia Unit Penleigh Essendon Grammar School PEGS Senior School Years 11 - 12

PEGS Junior Boys Pre-Kindergarten Year 6

PEGS Middle Boys Year 7 - 10

PEGS Middle Girls Year 7 - 10 PEGS Junior Girls Pre-Kindergarten Year 6

Landscape Architect (OCULUS) Acoustic

Building Surveyor (Davis Langdon)

Robert Hamilton Main Contractor (Construction Engineering)

Services ARUP

Glenn McAuliffe

Structural Civil Audio-Visual

Quantity Surveyor (Rider Levett Bucknal) Planning (ARG Planning)

Architect (McBride Charles Ryan)

Andrew Hayne (Project Architect) Debbie Lyn-Ryan Robert McBride (Principals)

Legend

Head of Finance Mina Pitliangas

School Council & Community Design & Construction Team

VCE Coordinator Tom Murphy Vice-Principal Nina Bilewicz

Principal Tony Larkin

Architectural Advisor Michael Ranger

PEGS Control Group Legislation & Governance People

Figure 59 I Some of the intraorganisation associations within the PEGS Senior project network

construction contractor with appointed sub-contractors. These relationships reveal insights and experiences of the design and procurement of the PEGS Senior building. Figure 59 maps some of the inter-organisation relationships within the PEGS Senior project.

The first inter-organisation relationship was between the school control/client group and the appointed architects, MCR. Unlike the All Saints case study, the school council or project control group and architects did not have a pre-existing relationship. The architects were engaged after the school announced them winners in an invited design competition. The school approached six architectural companies and progressed to a detailed design competition with two of the firms. The winning firm was awarded the project, whilst the other firm was paid a fee for their time.233 PEGS had a developed structure for developing the brief for the new school campus and managing the design and construction process, this was through a committee called the control group. The relationship between this control group and the architects was based on an engagement of professional services and was described by both Debbie-Lyn Ryan and Nina Bilewicz as rewarding, productive and based on realistic expectations. Through the interface between a coordinated school control group and the architects, decisions were made and agreed on as a group with the aim of being the “best thing for the school holistically.�234 Neither Debbie-Lyn Ryan nor Nina Bilewicz referred to specific consultation occurring between the architects and the school staff. Instead the staff representatives on the control group, Tony Larkin as VCE coordinator, Nina Bilewicz as school vice-principal, and Tom Murphy school principal, were the points of contact between the PEGS staff body and MCR.

Robert McBride ...working with clients you never know quite where it is going to go.235 Through the interviews with both Debbie-Lyn Ryan and Nina Bilewicz it was evident that the control group had formulated particular decisions, such as an intention to retain the traditional classroom model, before MCR was engaged. This was based on their existing acumen and pedagogical approach. There was a clear delineation 233 Nina Bilewicz, "Interview by Angus Hardwick. Extended Interview," (PEGS Senior School2013); Daniel Griffin, "Interview by Angus Hardwick. Extended Interview," (The Foundry Cafe, Sydney2013); Debbie-Lyn Ryan, "Interview by Angus Hardwick. Extended Interview," (Offices of McBride Charles Ryan2013).

234 Ryan, Interview by Angus Hardwick.

235 Robert McBride, Mcbride Charles Ryan Practice Lecture, Competition Short-List Presentations (The University of Melbourne: Architectural Design Competition: University of Melbourne, 2009), Video Recording.

107

Figure 60 I far left PEGS Senior First Floor Plan. Location of locker rooms at knuckles of building form (Image: McBride Charles Ryan) left PEGS Senior, view of locker areas. MCR sought to challenge the clients perception of locker rooms as antisocial places (Image: John Gollings)

Figure 61 I far left PEGS Senior First Floor Plan. Location of library at the centre of the school (Image: McBride Charles Ryan) left PEGS Senior, view of the library at the heart of the school (Image: John Gollings)

recognised by both parties of what was open for discussion and what was not. MCR, having had some experience with alternative pedagogical formations in their Fitzroy High School project, recognised the fixed aspects of the brief and followed rather than challenged the requirements the school set them.236 Interstitial and non-classroom places were considered by MCR as areas where they could experiment and question the control groups assumptions. Two such discussions occurred over the intent and design of the locker areas and the articulation of the library. MCR sought to challenge the control group’s perception that locker areas were antisocial spaces.237 Figure 60 Instead MCR pursued their interest in designing places for the children to interact beyond the structure of the formal classroom setting.238 A second discussion emerged with the consideration that children may steal books from the library. MCR questioned whether it was bad if the children stole books and the ensuing discussion saw the inclusion of under floor security screening. Figure 61

Debbie-Lyn Ryan

It is kind of a two way conversation, we will bring up why and then they [control group] will think about really why…239

In the evolution of the projects design a delineation of responsibility and powers between the control group and MCR was maintained. MCR was engaged for their architecture and design capabilities. They formed one part of the control group for the buildings design, however they were not privy to other decisions such as compiling the list of potential construction contractors who would tender on the project. This was decided by Bruce Henderson who sat above the control group, in terms of hierarchy, on the school council. In this sense the architects ‘power’ was bound to their specific task of designing the building.

Debbie-Lyn Ryan

We don’t usually get to say, we can put forward people who we think [should be on the tender list] but they won’t necessarily adopt them.240 108

236 Griffin, Interview by Angus Hardwick.

237 Bilewicz, "Interview by Angus Hardwick. Extended Interview; Ryan, "Interview by Angus Hardwick. Extended Interview."

238 Griffin, Interview by Angus Hardwick.

239 Ryan, Interview by Angus Hardwick.

240 Ibid.

Figure 62 I Fitzroy High School, engaged to complete the design becase people within the school were aware of MCR’s reputation (Image: John Gollings)

Figure 63 I Templestowe Primary School, the receptionists son recomended MCR to the school principal. Recipient of a 2005 Victorian Award for Public Architecture AIA (Image: John Gollings)

A further instance was the buildings façade, both external and internal, which developed from the initial competition design. The architects intent was to maintain a metallic appearance and material longevity.241 The decision to pursue a visual metallic façade rather than a façade made up of hexagonal components presented at the competition phase was partially for avoiding potential manufacturing difficulties. The school also had an intention that the building should ”not be too grungy or dirty. That it should be shiny and clean and polished and colourful.”242 The aesthetics of the façade were considered to be the professional territory of MCR where members of the control group would largely take direction from MCR, as guided by the architectural advisor Michael Ranger.243 Instead the control group, advising the school council, was responsible for planning the budget.

The school council under the guided of chairman Bruce Henderson gave the final budget approval. Budgetary constraints did not permit a second skin of bricks to be used as the internal façade.244 This decision also aligned with an intra-organisation decision by MCR to celebrate the buildings design, through allocating more funds to various areas, at particular points rather than spending money evenly across the whole building.245

Nina Bilewicz I think that my sensibility is much more conservative than the architects. So I don’t

know what they think but I have learned that I just leave it up to them.246 Debbie-Lyn Ryan referred to the complexities of procuring new work as an architect, especially through competition or invited tender. This discussion references the client – architect at a general scale. Debbie-Lyn Ryan discussed the importance of having a connection with a possible client or a possible client being aware of your capabilities as two key avenues which an architect can secure work through. MCR sort to develop education as a specialist portfolio area that they worked in and partially to achieve this they registered their firm with the Victorian Department of Education and Early Childhood Development (DEECD). The public commissions that the school has secured through the DEECD process such as Templestowe Primary School, or Fitzroy High School came when someone in the schools organisation, principal or other school representative, were aware of MCR’s work, not because they were a preferred architect of choice by representatives of the DEECD.247 Figure 62 and 63 241 Ryan, Debbie-Lyn. Email, September 16, 2013.

242 Griffin, Interview by Angus Hardwick.

243 In the building-walk tour that Nina Bilewicz gave me she referred to the external blinds on the recently opened, MCR designed, Middle Boys School campus, adjacent to the PEGS Senior campus. She said that although she felt the colours were still ‘wild’ and that on her request they had been significantly ‘scaled down’.

Bilewicz, Interview by Angus Hardwick.

244 Ryan.

245 Griffin, Interview by Angus Hardwick.

246 Bilewicz, Interview by Angus Hardwick.

247 Ryan, "Interview by Angus Hardwick. Extended Interview."

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Figure 64 I Royal Domain Plaza Apartments designed by Bruce Henderson Architects, constructed

by CE (Image: Construction Engineering Aust)

These existing relationships or knowledge can sometimes be instrumental for an architect to secure a new project, or prohibitive if the competing architect does not have these connections.

Debbie-Lyn Ryan

Sometimes it doesn’t matter anyway because people have connections that you are never going to be privy to. We have recently lost another competition …. We think there were also personal connections that we were never going to be privy to.248

A second relationship that was revealed during the interviews was between the school and the main construction contractor. The construction tender was awarded, through a competitive process, to Construction Engineering (CE). The list of invited construction contractors who tendered for the PEGS Senior project was largely compiled

by Bruce Henderson. At the time MCR was appointed winner of the design competition, Bruce Henderson was a member of the PEGS school council. He later became chairman of the PEGS school council. Bruce Henderson, the director of Bruce Henderson Architects (BHA), had a pre-existing professional relationship with Brian Conwell, a director at CE. Previous projects designed by BHA and built by CE include: Fountain Gate (Narre Warren, VIC); Royal Domain Plaza Apartments (Melbourne, VIC); 168 Lonsdale Street: The Greek Centre (Melbourne, VIC); and The Melbourne Clinic (Richmond, VIC).249 Figure 64 Robert Hamilton noted that learning facilities and schools do not require specialist skills in construction and is not a specialist area of work.

CE tendered on a set of tender documents and were appointed on a lump-sum contract. The contractual arrangements delineated CE’s scope of work that did not involve installing the loose furniture within the school. CE maintained a relationship with the PEGS client body and have been engaged to construct the PEGS Middle Girls school, also designed by MCR. Although both contracts were fixed lump-sums, CE was involved in a process of cost saving for both projects. Robert Hamliton cited the removal of external motorised blinds in the PEGS Senior project as one example of this. In the PEGS Middle Girls project he said CE suggestions for cost saving extended 248 249

Ibid.

Hamilton, Robert. Interview by Angus Hardwick. Extended Interview. PEGS Middle Girls Construction Site Keilor East, August 21, 2013.

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to changing the external feature brickwork. The process of cost saving was cited by both Debbie-Lyn Ryan and Robert Hamilton as being a standard process on most jobs. The decision for savings rests with the control group.

These comments highlight that adjustments to a buildings design throughout the procurement process may have an impact on the usability or aesthetics of the finished building. Such decisions, made by the client, are motivated by cost saving measures. However, the implications of these decisions and alterations in impacting the experience of the children and teachers in their learning environments is unknown.

Robert Hamilton

We gave the school a shopping list of things that they could change, the architects didn’t like some of them because we wanted to delete a lot of the feature stuff…250

Another relationship discussed by the interview participants was of that between CE, as main contractor, and appointed sub-contractors. CE, like many construction companies, have a list of preferred suppliers who they use to tender on projects. The responsibility rests with the contractor to appoint the specific sub-contractors and these appointments are often motivated by cost rather than quality. The tender process is not always a fixed routine, as CE will negotiate with the sub-contractors over their scope and tendered price. A company which CE cite as a preferred contractor is not a secured relationship or a guarantee for future work.

Robert Hamilton

The brickwork was done by Byrne Construction … He priced this stage [PEGS Middle Girls], I don’t think he is the most competitive price at the moment. We are talking to others.251

The tender process through which CE would select subcontractors to construct particular phases of the project results in complex decentralised organisational relationships. The procurement of the PEGS Senior project was affected by a number of ‘critical’ sub-contractors who went broke over the course of the project. Robert Hamilton suggested that there was often little or no warning if a sub-contractor was experiencing financial difficulties. The 250 Hamilton, Interview by Angus Hardwick.

251 Ibid.

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Figure 65 I PEGS Senior under construction, installation of of structural steel (Image: McBride Charles Ryan)

loss of key trades impacted the procurement of the building by extending the project time frame and in some cases presented trades engaged to replace the lost sub-contractor with little time to understand the building, impacting the construction quality. Robert Hamilton noted two types of contracts which organise the project. The first is where CE would split key components of the project into specific individual construction units. For instance in completing all the concrete work CE may employ three different contractors to complete various stages of the process. Furthermore, the subcontractor responsible for pouring concrete may be different to the subcontractor responsible for steel fixer or the subcontractor responsible for assembling the formwork. These decisions inform the delivery of the building and its physical quality, yet are made removed from the client organisation. The main contractor is appointed on behalf of the client to make these decisions. In this type of arrangement the appointed subcontractors are directly responsible to CE. The second contractual arrangement was were CE let a trade contract as package to one company who would then administer the individual trades and components. This occurred with the structural steel where the steel fabricator and shop detailer was part of the same package but administered by different companies. Figure 65 In this arrangement the trades who work on the project are less responsible to CE as they are to their immediate employer. This presented CE with difficulties when particular trades went out of business. The contract structures which emerge through a buildings procurement are complex and nuanced. They involve relationships forged beyond the influence of the client despite the direct impact they have on the delivery of the physical building.

Robert Hamilton

‌ it was under his [steel fabricator] contract for the shot drawings. They appointed another shop detailer who wasn’t particularly user friendly‌He was behind the eightball from the get go.

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Figure 66 I Digital modeling techniques were used by MCR to develop the building’s form and facade articulation (Image: McBride Charles Ryan)

Theme I Intra-organisation relationships Within the architectural practice setting of McBride Charles Ryan a clear delineation of roles and hierarchies exist. Robert McBride and Debbie-Lyn Ryan are the appointed principles and they both take responsibility for design direction and client engagement with all projects in the office. These two responsibilities are identified as the most important aspects of the practice because they are driven by the practice principals. At the centre of this, a building’s design quality and the architect’s client relationships are key to MCR procuring and developing new work. Following a traditional model of practice they appoint a project architect to lead each project who is responsible for the daily engagement with the client and delivery of key milestones. In the PEGS Senior project Andrew Hayne was the project architect.

Debbie-Lyn Ryan

We have a very structured team, it is Rob and I who sit at the top and we certainly do most of the design work and we attend a lot of the meetings but we would have a project architect … we can’t be there answering the calls of the control group every day

As MCR expands a project team in response to a project’s pressures and requirements, the design of the building is broken into components and assigned to members of the project team. Former practice design team member Daniel Griffin referred to the technological limits of the practice when they commenced work on the PEGS Senior competition as MCR was a team of eight people including the two lead principals. The project was used as an opportunity to push the practice’s design capabilities and their digital design skills. Figure 66 The project was designed using the program developed by Robert McNeel & Associates called Rhinoceros (rhino). Daniel Griffin recalled that at the time of the design competition only two people in the office were skilled at using rhino; himself, and Andrew Hayne.

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Figure 67 I Sketches of different design ideas and concerns in the PEGS Senior project as recalled

by Daniel Griffin (Image: Daniel Griffin)

Daniel Griffin

I would generate something … He would be like ‘that’s good but can you push it more … I would then have to go and do heaps of work outside of the office hours.252

The process of design emerges as much through interpreting clients needs as exploring MCR’s architectural design-orientation. MCR used an intra-company process of iteration to evolve the project design that would be between a design team member and the practice principals. During the competition MCR did not have access to the children or teachers at PEGS and were reliant on the brief they were given by the client control group and their knowledge of schools and campuses as a typology. Daniel Griffin noted that the design was well formulated at the point of competition. During the interview process Daniel Griffin sketched to explain parts of the interview.

Figure 67 Design orientation concerns such as creating an object in the landscape rather than a collection of smaller units; associations and intersections of ideas that may emerge from the placement, of what the architects identified as dissimilar components of the school curriculum, next to each other in the project planning; and epigenetic design emerging from digital experiments.

Daniel Griffin

Rob doodles a lot. He spends most of his time in meetings doodling, he generates all these ideas ...253

Within the PEGS organisation a clear delineation of roles and responsibilities between players was identified.

Nina Bilewicz identified that within PEGS a specific group of people with particular backgrounds and skills, such as teaching, finance or, timetable planning, were organised into a group to supervise and direct the design and development of the senior school. This group, called the control group, included: Bruce Henderson as chairman of the school council giving final direction on finances and construction tendering decisions; Michael Ranger as PEGS appointed architectural adviser; Mina Pitliangas as PEGS Director of Finance; Tony Larkin as PEGS Principal; Nina Bilewicz as school Vice-Principal; and Tom Murphy as VCE Coordinator.254 Nina Bilewicz identified herself and Tom Murphy as the two teachers who were most involved in the design development and procurement 252 253 254

Griffin, Interview by Angus Hardwick.

Griffin, Interview by Angus Hardwick.

Bilewicz, Interview by Angus Hardwick; Ryan, Interview by Angus Hardwick.

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of the project. These two teachers also have administrative and executive roles within the school organisation.

The same control group has been responsible for overseeing the construction of three other projects, PEGS Junior Boys, PEGS Middle Boys, and PEGS Middle Girls. Maintaining this client team has maintained the knowledge base the PEGS organisation has developed. It has also maintained the established the working relationships developed with MCR, also appointed project architect for these three later projects. Nina Bilewicz claims most responsibility for writing the original competition brief, with the guidance of architectural advisor Michael Ranger.255 A consultation process did occur within PEGS with the other school staff although details of this process did not emerge during the interview. It was not clear whether MCR met with the wider teaching group to discuss the design. In other school projects, such as Fitzroy High School, MCR was involved with detailed staff, student and community consultation. Nina Bilewicz did discuss that Tom Murphy and herself would interpret and filter the feedback of the teachers as they saw appropriate into the project design.256

Nina Bilewicz

Tom … spoke to other staff members and got them all involved and got ideas.

Sometimes you go back many times to the staff to try and work it out.257

Theme I Aspirations and Intentions A common theme that was evident in all interviewed players responses was the expression of their aspirations for PEGS Senior as a building project and aspirations of a professional nature, relating to the players organisation.

Aspirations expressed by the players that were concerned with how PEGS Senior would be used referred to programmatic aspirations. Nina Bilewicz emphasised that the library was conceived by the control group as the centre of learning at PEGS. MCR interpreted this briefing suggestion by the control group and placed the library in their design at the physical centre of the project. Nina Bilewicz recalls that “the other mob” placed the library on a corner of their design. The symbolic position of the library was seen as a physical expression of the schools embodied aspiration for quest of knowledge.

255 Bilewicz, Interview by Angus Hardwick.

256 Nina Bilewicz discussed how one staff member requested a walkway connecting the outside oval to the building. She said that she rejected this idea and admitted that “they will never be 100% happy” ibid.

257 Ibid.

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Nina Bilewicz

The heart and soul of this building has to be the library, the place of the centre of knowledge … McBride Charles Ryan gave us an infinity centre with the library straight in the middle. How clever is that!258

Another aspiration concerning the use of the building was that teachers would be able to passively observe, and control, the student body at all times. In light of the design and organisational aspirations to prepare the students for university it was important that staff maintained control over the student population. This was achieved through a building design that mixed the traditional classroom unit with areas that students had greater freedom and autonomy for independent activities. Through the positioning of large windows in staffrooms located adjacent to a student locker area it was intended that teachers would maintain control though constantly being able to monitor and observe the students. Another goal that the PEGS control group and architects had was to encourage the children through passive design features towards ‘good’ social behaviors. The traditional school canteen was designed as a shop and cafeteria where students would come at lunch time and engage as if in a commercial setting. This activity was apart of a larger aspiration of PEGS to prepare their students for their adult lives after school. The design reflects current educational thinking that the role of schools is not to teach specific facts but rather to teach a way of thinking and acting to prepare students for their adult lives.259

Debbie-Lyn Ryan

Nina was amazed, she will say that all the things we talked about, that we wanted the building to do, just happened organically.260

A second grouping of aspirations that the interviewed players discussed was the aspiration for their organisation.

Nina Bilewicz expressed that PEGS developed a master plan with the intention of growing the school. This was to be achieved through moving the location of the PEGS Middle Girls. The PEGS Senior project was seen as the first phase in achieving this larger aspiration. PEGS Senior was designed to accommodate 600 students, the school is yet to reach 600 students however the building has been designed with this future population size in mind.

258 Ibid.

259 Fisher, “Schools as ‘Prisons of Learning’ or, as a ‘Pedagogy of Architectural Encounters’ : A Manifesto for a Critical Psychosocial Spatiality of Learning; “Pedagogy and Architecture.”

260 Ryan, Interview by Angus Hardwick.

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A secondary aspiration in moving the PEGS Middle Girls was to provide the teachers and students with more ‘space’ to perform their activities.

Nina Bilewicz

What the school has always wanted to do is to bring the middle school girls up here … we want them to have space for them to do all the activities that are important for their development.261

The role that a new building can play in boosting school enrollments was the concern of MCR’s first school commission at Templestowe Park Primary School. Debbie-Lyn Ryan recalled the “leap of faith” that Jenny Turpin, Templestowe Park Primary School principal, made in selecting MCR as the schools architects.262 The newly designed facility, also recipient of an AIA award for public architecture, was seen by the school as an opportunity to attract new parents and address diminishing enrolments.

The PEGS Senior project also embodied many professional aspirations for MCR. MCR started their practice in part with an aspiration to do “reasonably radical buildings” that mediated a progressive design and aesthetic agenda and buildings which adjusted and “look[ed] comfortable in the surrounds”.263 The aspiration to create ‘radical buildings’ is part of a larger intention of MCR to work and run a business which allows them “to complete buildings to the standard that we would like to seem them”.264 Specifically the PEGS Senior competition was considered by MCR, at the time, to be a practice-defining project. Winning the project helped establish MCR as skilled architects designing in the education sector. To achieve this goal the MCR project team made decisions not to interrogate the education vision presented in the project brief but rather to demonstrate their skills as designers and pursue their design-orientation.

Daniel Griffin

261 262 263 264 265

We wanted to peruse some radical language and radical architecture we knew we had to be quite strict to our adherence of the brief because we knew that the competition would be doing that.265

Bilewicz, Interview by Angus Hardwick.

Ryan, Interview by Angus Hardwick.

Jacinta Le Plastrier Aboukhater, "Dome Beautiful," The Sydney Morning Herald, September 8 2005.

Ryan, Interview by Angus Hardwick.

Griffin, Interview by Angus Hardwick.

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MCR also have ethical aspirations to design buildings which are robust and environmentally conscious. DebbieLyn Ryan identified that achieving this goal was only possible if a client’s values aligned with this perspective.

Debbie-Lyn Ryan partly attributes this aspiration to informing their material selection and the symbolic representation of their buildings as durable and robust. Debbie-Lyn Ryan cited the Fitzroy High School project as a building where MCR intentionally directed the budget to the external façade, allowing MCR to specify glazed bricks. This also met MCR’s aspirations in the Fitzroy High School project to symbolic celebrate a school that operated as a testament of the community’s actions by designing an iconic and durable building.

Debbie-Lyn Ryan

We don’t think it is right that the whole country is building tin sheds that last 25 years.266

Domain I Project Incidents & Processes The domain that grouped specific themes as relating to the PEGS Senior project, incidents and processes in the design, procurement and use of the building identified four specific themes. I will expand on the theme relating to how the building performs in use allowing the experiences of the interview players to be seen in parallel with the projects aspirations and intentions.

Theme I Building Performance A cluster of themes that emerged from the interviewed players responses were concerned with the broader domain of project incidents and processes. This included discussion of how PEGS Senior performed as a building.

The comments and experiences documented revealed insights into PEGS Senior as a learning place in action and a building in use. The architects reflected on their design process and the siting of the building. The architects noted the exposed location of the PEGS Senior project as open to cold north-western winds. It was suggested 266

Ryan, Interview by Angus Hardwick.

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Figure 68 I PEGS Senior, courtyard view. External areas sheltered from the building sites exposed position (Image: John Gollings)

that for a building to have usable outdoor areas the designed building needed to shelter the children and teachers from these windy conditions. Figure 68 A large portion of the interview conducted with Nina Bilewicz was conducted during a guided walk around PEGS Senior. In this walk I was introduced to one humanities teacher and one science technician who both provided insights into how they used the building and how the students use the building. Nina Bilewicz discussed how the two courtyard areas, or quadrangles as she referred to them, were inhabited by different sized student groups and encouraged different types of activities. In one quadrangle she discussed how students sat in smaller groups whilst the other quadrangle hosted larger events. These areas were well used because they were sheltered from the winds. However Nina Bilewicz did discuss that outdoor areas, such as the café terrace, were too cold to inhabit in winter. In discussing the outdoor places at PEGS Senior a contrast in language between Nina Bilewicz as an educator and Debbie-Lyn Ryan and Daniel Griffin as architects emerged. Describing the two outdoor ares as quadrangles refers to the outdoor, usually rectilinear, shape placed at the centre of traditional learning and knowledge centres, such as monasteries and early schools. The architects’ connotation of the area as a courtyard refers to its inhabitance and the relation of built form enclosing activated external area.

Nina Bilewicz

This area here, the architects call it the forum … It is a lovely spot, in summer it is beautiful and cool but in winter it is a bit too cold.267

A second performance of the building extends from the architects intentions to foster interaction between children outside the structure of their classroom environment. The affordances that the building offers the students to socialise and interact, was a topic discussed by MCR and the control group during the design process, and discussed by the interviewed players reflecting on the building in use. In one of the incidental discussions with a PEGS Senior teacher during Nina Bilewicz’s guided walk it emerged that the staff had many vantage points to successfully survey and monitor the students behaviour. As I have discussed earlier passive surveillance was a 267

Bilewicz, Interview by Angus Hardwick.

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Figure 69 I far left PEGS Senior First Floor Plan. Location of the breakout place near the science labs identified.

(Image: McBride Charles Ryan) left PEGS Senior, view of void connecting the science classrooms on the ground with the approach to the library above.

(Image: John Gollings)

significant concern for the PEGS control group. The teacher remarked that from a child’s perspective, the inability to avoid staff observation was unwanted. Nina Bilewicz confirmed that from her office she could observe their efforts to ‘hide’ or move themselves away from where they felt constantly monitored. The desire of the adolescent children to find private places within the building was remarked on by Debbie-Lyn Ryan in the fact that is was very difficult to design out all hidden places in the school. In the design and use of a learning place, given the age range of children using an area, conflicts between supervision and independence can arrise.

Debbie-Lyn Ryan

...there are still places you can snog. It is hard to avoid it completely and you would probably have this really boring building if you totally avoided it.268

Beyond the structured classroom setting a range of ‘break out spaces’ each with different furniture and different finishes and colours was designed. Nina Bilewicz remarked at how some of these places were more successful than others. Based on her observations of the children using the building Nina Bilewicz remarked that she felt the students preferred noisier areas where people would walk past their study area, such as in the library. The students often preferred to study in groups as it allowed them to be with their friends. These areas were frequently used because the PEGS Senior timetabling provided most students with approximately two ‘free periods’ a day.

The areas that Nina Bilewicz identified as being least successful were quieter areas and areas that experienced less traffic. Figure 69

Nina Bilewicz

This is one of our mistakes, I think we thought it might be a little nook where kids sit and talk but in fact they don’t ...269

The classroom settings featured a mix of technology interface and traditional whiteboards. Nina Bilewicz explained that the classroom units needed to facilitate the active learning, as directed by the classroom teacher, of the students. Entire classroom walls had a whiteboard finish allowing students to be engaged in the learning process. She also explained that the schools ideal classroom setting was when the desks were connected into 268 269

Ryan, Interview by Angus Hardwick.

Bilewicz, Interview by Angus Hardwick.

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a circle formation. She expressed frustration that not all staff set their classrooms up in this manner however she described how these decisions were left up to the teachers to decide. While the PEGS Senior control group appears to not have been interested in investigating in exploring contemporary pedagogical approaches using the basic structure of the classroom and the activities set by a teacher the children are positioned as active and engaged learners. With the installation of wall surfaces that can be drawn on, and a variety of desk arrangements PEGS Senior does provide teachers with a number of possibilities for shaping their teaching places.

Reflecting on other school projects designed by MCR Debbie-Lyn Ryan suggested that it was difficult to change pedagogical practice within a school organisation when the state’s school education curriculum was focused on the Victorian Certificate of Education (VCE) examination. Debbie-Lyn Ryan described the Fitzroy High School project as the teaching staff would ‘quickly’ remove a student from a learning setting, separate them from the main group with a curtain divider, explain a concept to the student, then quickly and with littler interruption return them to the group. She alluded to the importance of acoustics in open plan learning places and that budget pressures could compromise the performance of a learning place. Debbie-Lyn Ryan also expressed that the flexible pedagogical practices of Fitzroy High School were better suited for younger years, such as years 7 – 10, because the learning of these students was less focused on preparation for the VCE. She discussed that in the four years since the Fitzroy High School building extension has been complete it is increasingly being used by more junior years at the school.

Debbie-Lyn Ryan

…we had to cut back on a lot of things … we did actually have a better acoustic treatment which did get stripped out...270

PEGS Senior was completed in 2012 and at the time of the interviews all defects had been dealt with. Nina Bilewicz did not discuss the physical faults of the building and possible maintenance issues that the school may have identified in its first year of use. Debbie-Lyn Ryan noted that some of the metal cladding used around the courtyards was dented possibly because of games the adolescent children may play. Robert Hamilton, informed 270

Ryan, Interview by Angus Hardwick.

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Figure 70 I far left top PEGS Senior Ground Floor Plan.

Location of stair 6 shown.

(Image: McBride Charles Ryan) far left bottom Construction photograph of Stair 6.

(Image: McBride Charles Ryan) left PEGS Senior, view of stair 6, linking ground level to upper locker area. Off-form concrete not sealed at the time of the buildings completion (Image: John Gollings)

from his experiences managing the construction of buildings and rectifying noted defects, discussed some concerns that he had about material surfaces he felt could be potentially difficult to maintain. He discussed how the colour finishes, particularly dark colours, revealed marks and in a ‘rough’ school environment became dirty relatively quickly. He also noted that the some of the exposed internal concrete surfaces were not sealed until after the building had been occupied by the school. Figure 70 He said that in the four months of operation before these surfaces were sealed they became marked and scuffed. Inthe PEGS Senior project the procurement process of a building and the material selections made were largely motivated by longevity and durability. However there were instances when budget constraints would prevent best-practice and treatments in being applied.

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Community longevity

Process

Engagement

Typology Project Specific Pedagogy

Architectural Practice Materiality

Un-briefed / Incidental built places

Reputation

Aspirations

KEY Themes Domain

Figure 71 I Domain and theme mapping of published perspectives

PLAYERS I PUBLISHED PERSPECTIVES Tool 4 – Text analysis The fourth mode of case study investigation identified in figure 71 is the investigation of secondary sources published about the case study project, the case study school and the case study architects. The discourse relating to the building projects, school organisation, and architectural practices has occurred across a number of platforms including general print media newspapers, specialist print media magazines, specialist blogs, specialist audio-visual (AV) publications such as documentaries and specialist reports, and social media platforms such as Twitter, Facebook and Instagram. A survey of reviewed sources identified two main domains which discourse was generated in. The domains related to the specifics of the PEGS Senior project, and to the activities of MCR as an architectural practice. In each domain a series of themes were identified in the discourse.

Figure 70 maps the identified domains and their related themes. The project specific domain and select themes will be discussed in the following section as it relates to identified design values by the architecture profession.

Domain I Project Specific PEGS Senior was completed and opened in 2012 and despite the relatively short period of time that has elapsed since its completion a strong discourse exists across a range of media platforms about this building. The discourse related to MCR’s work with PEGS dates to 2011. Many of the articles, reviews and AV publications published over the internet have generated further informal social media discussion across platforms such as Twitter, Facebook, and Instagram.271 The two internal courtyards of PEGS Senior were also used as a setting for an episode of Network Ten’s MasterChef series.272 Discourse related to PEGS Senior has focused on the design process, intention and aspiration of the project. The secondary sources investigated formed opinions 123 271 At the time of writing Twitter searches of the terms ‘Penleigh Essendon Grammar School’ and ‘McBride Charles Ryan’ identified 9 and 5 top tweets respectively discussing the PEGS Senior project. The Facebook page for the Life Architecturally documentary, produced by Mago Films, had received 538 ‘likes’ and the Facebook page profiling MCR’s office location had received 563 ‘likes’. The MCR Instagram account had 880 followers and the two images of PEGS Senior had been ‘liked’ by 94 and 85 people respectively. Searching with the hash-tag term ‘McbrideCharlesRyan’ on Instagram produced a further image of the PEGS Senior project posted by user Australian_Architecture that had been ‘liked’ by 664 people.

272 ShineAustralia, Offsite Challenge 1, vol. 5.12, MasterChef Australia (Network Ten, 2013), Television

Figure 72 I PEGS School logo.

Scrap paper with sketch by Nina Bilewicz

and hypotheses through the author’s knowledge, and the perspective of a key client representative and the lead architects themselves. The themes identified within this domain include metaphors and analogies, materiality, incidental interactions, pedagogy, and typology. I will discuss the themes of metaphor and analogy, and incidental interactions as they the values the architecture profession identify in the design of PEGS Senior.

Theme I Metaphors and analogies The reviews published on the PEGS Senior building seek to explain the building, its design intentions, the project brief, and procurement process to an audience that is likely to have little or no prior knowledge of the project. This is achieved through the use of descriptive words, quotation excerpts and the assistance of captioned photographs.

The reviews aimed at a designerly audience also use architectural drawings, including plans and sections, to communicate the building. Two published reviews, by Christine Phillips for Architecture Australia and Stephen Crafti for The Age, are focused on PEGS Senior.273 A further four reviews, by Clare Newton, and Christine Phillips, both written for Architecture Australia, Stuart Harrison for Architecture Review Australia, and Joe Rollo for The Age, focus on other school education buildings by MCR, namely PEGS Junior Boys and Fitzroy High School.274 These reviews employ metaphors and analogy to communicate two aspects of the reviewed building: their perception, interpreted by the reviewer or conveyed through discussion with the architects, of the design concept; and the building’s spatial qualities and characteristics. All authors used metaphors to describe the building’s form. Christine Phillips discusses the form of the building as an Infinity symbol alluding to the school’s motto.

Figure 72 This metaphor abstracts the building, removing it from both a specific context and its physical scale, and verbalises the building form as a diagram. The application of this metaphor is consistently evident in DebbieLyn Ryan’s descriptions of the building.275 Other metaphors used to describe the school buildings designed by MCR include a haunted house, Hogwarts castle in Harry Potter, and an Alvar Aalto vase. Christine Phillips also uses the metaphor of a village to describe the building program arrangement at PEGS Senior. Metaphors are 273 Stephen Crafti, "A School Design Free of Limits," The Age, December 10 2012; Christine Phillips, "The Infinity Centre," Architecture Australia, January/Februry 2013.

274 Stuart Harrison, "Fitzroy High School," Architecture Review Australia(2010), http://www.australiandesignreview.com/architecture/1440-fitzroy-high-school; Clare Newton, "A Design Excursion," Architecture Australia, September/October 2007; Christine Phillips, "Black Magic," Australian Review Australia, August/September 2011; Joe Rollo, "Penleigh and Essendon Grammar Junior Boys School," The Age, June 17 2011.

275 Britt Arthur, "Life Architecturally," in ArtScape (Screenwest; Screen Australia, 2012); Ron Brown, "Episode 3: The Infinity Building " in Architecture Television, ed. Ron Brown (Online: Architecture Video Australia 2010); Ryan, Interview by Angus Hardwick.

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Figure 73 I PEGS Junior Boys, interior. Sculpted ceiling form.

(Image: John Gollings)

Figure 74 I Jørn Utzon’s Bagsværd Community Church, Denmark.

(Image: Angus Hardwick)

used frequently in the description of the building and the function of its internal arrangement to make something unknown or foreign easily comprehendible by drawing on the readers existing knowledge.

Christine Phillips

The Infinity Centre at PEGS Senior reads as a singular form, a gentle bow to Antoni Gaudi’s Casa Milà and a way to formally unify the different learning centres within the school.276

In the specialist architecture reviews more complex, discipline specific, analogies are used drawing on the readers specific knowledge of historic architectural precedent. Christine Phillip’s review of PEGS Senior uses the metaphor of Antoni Gaudi’s Casa Milà in Barcelona to describe the building’s continuous and curving façade.277 This analogy continues with a simple metaphor comparing the curving exterior building façade to skin. In Joe Rollo’s review of PEGS Junior Boys he uses the analogy Jørn Utzon’s Bagsværd Community Church in Denmark to describe the internal aesthetic of the folded roof forms.278 Figure 73 and 74 Christine Phillips continues this analogy in her review.279 These analogies are used to legitimise the buildings design orientation within a known and accepted discipline context. The use of simple metaphors and discipline specific analogies in the language reviewing PEGS Senior and other education buildings makes clear the marketing priorities of the profession.

These metaphors and analogies focus on the design orientation of the building and emphasises the importance that the profession and its marketing mechanisms place on these aspects.

Theme I Un-briefed / Incidential Building Places The children, as the key players using PEGS Senior, are referenced in the building reviews through the authors’ description of incidental and un-briefed areas of the building. The reviews highlight that MCR ‘value-added’ in the 276 277 278 279

Phillips, "The Infinity Centre," 90.

Ibid.

Rollo, "Penleigh and Essendon Grammar Junior Boys School."

Phillips, "Black Magic."

125

Figure 75 I PEGS Senior, above the science classrooms on approach to library. Interstitial place for unprogrammed social interaction.

(Image: John Gollings)

Figure 76 I PEGS Junior Boys, internal breaseway as un-briefed building place.

(Image: John Gollings)

design process by providing settings for unstructured interaction between the children beyond their structured classroom setting.280 The architecture profession values innovation as a representation of progressive thinking and practice, designed offerings which are achieved and considered to be beyond the terms of a buildings brief as valued as innovation. The reviews emphasise the interaction of children with each other as a role of the buildings design. The spontaneity implied in the children’s interaction is presented as a strength of the building in contrast with a ‘traditional’ classroom brief. The reviewers use descriptions of social and unstructured areas to present a vision for the ideal inhabitation scenarios of the building. The unstructured areas are considered to be the innovative and value added areas of this project.

Christine Phillips

The breakout spaces, gallery spaces, contemplation spaces and areas for students to meet create a sense of journey along the loop…281

The listing of different areas in the building is used to develop a sense of the possible spatial experiences that the children may have. Accompanying photographs of children occupying these areas are presented as proof of their success. Figure 75 The reviews position MCR as the drivers of this innovation. In other reviews Christine Phillips identifies the outdoor learning areas and internal breaseways of PEGS Junior Boys as these value added areas.282 Figure 76 In Fitzroy High School Stuart Harrison notes the buildings roof terrace as an innovation of the brief.283 The concept of affordances is not explicitly referenced by the reviewer nor is the Dutch-structuralist concerns of Aldo van Eyck or Herman Hertzberger. However the emphasis on these value-added areas are consistent with a preexisting concern within the discipline of architecture. The reviews seek to promote the reviewers perception of innovation within the designed building, drawing on a well-established discipline concern to legitimise the innovations.

126 280 281 282 283

Crafti, "A School Design Free of Limits; Phillips, "The Infinity Centre."

"The Infinity Centre," 92.

"Black Magic."

Harrison, "Fitzroy High School".

My School I Yianni

127

Conclusions I CHAPTER 5

Through the investigation of the All Saints Grammar Primary School, and Penleigh Essendon Grammar Senior School as two case studies this thesis has argued that successful learning places only emerge when the voices and experiences of children and teachers is actively heard by architects in their design, and procurement of a future learning place. In both case studies the voice of the children remained silent throughout the design and procurement process although I have shown that children do actively form articulated opinions about their learning places based on their particular experiences. I have revealed that the design of a learning place is the product of actions in complex networks in which key players, and significant influence is exerted by actors who are not educators and not connected with the daily functioning of a learning setting.

This thesis was framed by contextual considerations based on an Australian national concern for the education of children. The national concern has revitalised the focus of educationalists and researchers to enhance the relationship between pedagogical best practice and well-designed spatial experiences in schools. Architects have also applied their professional capabilities to the design of schools drawing on historic developments. The architecture profession has used awards to identify its definition of exemplar projects. I positioned the lived quality of a child’s learning place as the matter of concern of this investigation.

There where three aims of this thesis: to demonstrate an effective investigation model for capturing the experiences of the many players who contribute to the design, procurement and use of a learning place; to explore the influence of organisational structures and individuals on the design and procurement process affecting a child’s future learning place; and correlate the experiences of children in their learning place with that of an awarded building’s intentions and aspirations.

128

Demonstrate an effective investigation model for capturing the experiences of the many players who contribute to the design, procurement and use of a learning place.

The multimodal investigative model applied to these two case studies was successful in capturing and documenting the experiences and perspectives of multiple players and actors within the case studies. The attention to capturing multiple perspectives within a project was framed by Bruno Latour’s notion of the many actors and players which are gathered into a phenomenon and affect its formation and development. This investigative model encompassed a wide range of views including children, teachers, school principals, representatives of a schools executive, architects, project managers, and published professional and community perspectives. The experiences of the children and teachers at All Saints Junior captured through visual investigative tools presented insightful reflections on the lived experiences of these key players who use this awarded building daily. Within the PEGS Senior case study while I may not have been able to capture the experiences of the children or teachers I was successful in demonstrating the flexibility of this investigative model.

Importantly in both case studies I was able to capture multiple perspectives of these awarded buildings design, procurement and use.

Explore the influence of organisational structures and individuals on the design and procurement process affecting a child’s future learning place.

Consistent with the Actor Network Theory outlined by Bruno Latour I explored the complex associations of players and actors within the networks that contribute to the design, procurement, and use of the learning places at All Saints Grammar and PEGS Senior. In the All Saints case study I heard how nuanced intra-organisation relationships within All Saints Grammar, the parish community, and Candalepas Associates influence the priorities 129

of the design and procurement of the building, these being to refocus the community around the parish church, and design learning places that were fit for purpose. Within the PEGS Senior case study I identified networks that were predetermined, dense, and interconnected giving the projects evolution degrees of resistance external influences and pressures. The multi-person control group was resistant to, but aware of, external pedagogical transformations. This group comprised of many players, including educators, and architects, where each player had specific activities to perform which developed and progressed the project.

In both case studies I identified networks of prescription were identified players performed stable and predetermined actions. These stable actions were informed by intra-organisational structures, contract arrangements, and design orientations. I also identified networks based on negotiation that saw the design and procurement processes influenced by unexpected variations and changes. These influences took the form of budget implication, community objections, changing subcontractors, and consultation with client representatives.

I came to realize that the delivery of a successful learning place relies on much more than an architect’s acquired acumen and that architects need to be alert to the existing and active influences of multiple players and actors if they are to deliver learning places which a schools children and teachers consider to be successful.

Correlate a child’s experience in their learning place with that of an awarded building’s intentions and aspirations.

Established within the conceptual domain and demonstrated through the substantive domain, children as respondents were active engaged players with firm opinions about their learning places. Within the All Saints case study, by listening to the children’s views I came to understand that the children enjoyed informal activities where they took responsibility for their own actions. The places these activities occurred in were considered by the children as successful and the Board of Director’s intention for a learning place that was fit for purpose were 130

achieved. These places included the gymnasium and library. In awarding the All Saints Primary and PEGS Senior projects the architecture profession identifies the places within the buildings that foster social interaction and informal activities as critical to the buildings success.

However the experiences of the children identified the lack of contingency within the All Saints Junior structure for allowing standard organisational transformations to occur. Listening to the children it was apparent that the Board of Directors intention to provide settings fit for purpose was not achieved in places such as the music room or playground. The professions recognition of excellence in learning place design prioritise potential social interactions ahead of the design of learning places that reflect pedagogical best-practice as defined by current research. I argue that architecture projects would benefit from hearing their voices children in the design process to ensure that designed structures are contingent to the many possible futures and transformations it will be exposed to.

Future developments A future direction that emerges from this thesis would be to expand the PEGS Senior case study and document the experiences of the children and teachers within this awarded learning place. This would evaluate the correlation between MCR’s and the control group’s aspirations and intentions for PEGS Senior to be made with the experiences of the regular users of the building.284 Applying this multimodal investigative modal to other awarded education buildings across Australia would develop a significant body of knowledge around the design and procurement process of these learning settings. Since its completion in 2010 questions are emerging concerned with the pedagogical legacy of the BER program and the 131 284 Phillips, "The Infinity Centre," 92. Claimed that this project had set an international benchmark for secondary school building design. Further investigation of this case study, in comparison with other international developments may allow this asserted claim to be tested.

‘success’ of this investment in improving the schooling experience of Australian children.285 Applying this model to further case studies could be one way of correlating government intent with the lived experiences of children and teachers.

Arising from the AIA’s professional award program a future development that this thesis suggests is the refocusing existing judging criteria to include post-occupancy perspectives. Given the significant cultural value embodied in these awards, drawing on the professional status of architecture, the profession should hear the experiences of the players who use a building every day. Furthermore it could be asserted that if a building’s users also recognise their workplace as an exemplar project there may be greater resistance to their complete demolition, This would address some of the AIA’s current concerns around the loss of Australia’s modern architectural heritage.

I hope that this investigation contributes to ongoing research that will develop best-practice learning places for the benefit of Australian children. The design of a learning place needs to provide children and teachers with opportunities to make the most of their setting and maximize their potential. From the many experiences I captured it was clear that there were many successful places within these two awarded learning places. However I also heard frustrations from players who felt restricted in their ability to perform routine activities. In improving the spatial experience of children and teachers at schools architects should include them in the process of design and procurement as an attempt to forge stronger connections between pedagogical practice, the teachers and children’s daily routines, and the design capabilities of the architect.

132 285 Clare Newton and Lena Gan, “Revolution or Missed Opportunity?,” ibid.101(2012); Newton et al., “More Than a Survey: An Interdisciplinary Post-Occupancy Tracking of BER Schools.”

My School I Nectarios

133

LIST OF DIGITAL APPENDIX

APPENDIX 1

Approved Ethics Application

APPENDIX 2

Project Information Statements

APPENDIX 3

AIA Architecture Awards Matrix

APPENDIX 4

Protocoles - Drawings

APPENDIX 5

Protocoles - Photographs

APPENDIX 6

Protocoles - Interviews

APPENDIX 7

Case Study 1 - All Saints Grammar I Project Permission Forms

APPENDIX 8

Case Study 1 - All Saints Grammar I Children Working Booklet Drafts

APPENDIX 9

Case Study 1 - All Saints Grammar I Children’s Drawing Raw

APPENDIX 10

Case Study 1 - All Saints Grammar I Children’s Drawing Analysis

APPENDIX 11

Case Study 1 - All Saints Grammar I Member Checked Interview Transcripts

APPENDIX 12

Case Study 1 - All Saints Grammar I Interview Transcripts Thematic Coding

APPENDIX 13

Case Study 1 - All Saints Grammar I Teacher Photographs & Annotations

APPENDIX 14

Case Study 1 - All Saints Grammar I Teacher Photographs Thematic Coding

APPENDIX 15

Case Study 2 - PEGS Senior I Project Permission Forms

APPENDIX 16

Case Study 2 - PEGS Senior I Member Checked Interview Transcripts

APPENDIX 17

Case Study 2 - PEGS Senior I Interview Analysis

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GLOSSARY OF KEY TERMS

Actor network theory (ANT)

A research orientation which investigates and explains identified phenomena as products of complex social and technical networks.

The approach considers the action of human and nonhuman factors (actors) which exert influence through particular network structures on a phenomena.

Actors

This term is used interchangeably with players. It is the term used in the actor network theory (ANT) for human and nonhuman factors which contribute to, and influence, a phenomenon under investigation.

Affordances

How individuals develop associations and experiences their surrounding world. Developed by James Gibson in relation to the perception of animals in their environments, its application has been expanded to many other disciplines.

Australian Institute of Architects (AIA)

A professional organisation of Australian architects, representing a high proportion of registered architects in Australia.

Building Education Revolution (BER)

An Australian Commonwealth Government economic stimulus program in response to the 2007 global financial crisis. The program was an investment of AUD $16.2 billion drawing to a close in 2010. The program saw every school in Australia receive an improvement in its physical infrastructure activity. The program was initially coordinated by the Department of Education, Employment, and Workplace Relations run by the them minister Julia Gillard.

Bullerby Model

A model developed in child psychology for understanding how children engage with their surrounding settings. It considers places designed for, and places used by, children and the different types of features which afford or inhibit their activities.

Children

Individuals under 18 years of age.

Conceptual Domain

A domain of inquiry within a research model developed by David Brinberg and Joesph McGrath to develop valid research. This domain is concerned with the ideas that give meaning to studied content.

Contingency

An architectural concept for the ability of a designed building to anticipate unexpected uses and activities, and provide spatial structures that open to many possible futures.

Domain

Sphere of concepts, themes, or topics which are all related.

Exemplar

An example of an object or activity which is of a high quality and worthy of imitation or replication.

135

Gonski Review

Australian business man David Gonski chaired a committee, commissioned by then Minister for Education Julia Gillard, regarding the funding of education in Australia. The report later became known as the National Education Reform Agreement. The report and its suggested reforms proposed new funding mechanisms aimed at increasing funding to school education.

Home-School-Home

The journey between significant destinations in a child’s daily life.

These significant destinations are their homes and schools as they spend the most time of their days in these places.

Humanism

Within modern architecture was an ethical position based on a philosophical approach, which emerged in the period of enlightenment in the 18th century. It was set in opposition to the perceived rationalistic point of view evident in the 1940s.

Matter of Concern

The context which surrounds and is a part of an issue or phenomenon under investigation.

Methodological Domain

A domain of inquiry within a research model developed by David Brinberg and Joesph McGrath to develop valid research. This domain is concerned with the processes and procedures for studying identified content.

Mobility licences

A term developed in child psychology for the rules set by parents or guardians to give independence to a child’s movements within defined boundaries.

Network

A collection of individuals and objects (human and nonhuman) which are in some relation to each other.

Pedagogy

The practice of teaching based on principles and knowledge from the field.

Place vs space

A place is an organised area activated by human interaction and inhabitation. This differs from the application of the term space, or building space, which is concerned with the abstract volume of air defined by specific points. In architecture this is often walls defining a designated area.

Player

See actors.

Spatial Cognition

The mental processing and comprehension of a defined (building) space. This includes understanding through experience, perception and reasoning the location of an individual in their broad spatial context.

136

Strategies

Are the overarching and coordinating actions to achieve specific aims. The execution of a strategy organises and determines investigative tools applied.

Structure

Composition and assembly of an object.

Substantive Domain

A domain of inquiry within a research model developed by David Brinberg and Joesph McGrath to develop valid research. This domain is concerned with specific content being investigated.

Team Ten

A group of architects that formed after the 1953 Congrès internationaux d’architecture modern (CIAM). These architects used their design practice and academic writing to promote their specific concerns and orientations within architecture. The groups core members included: Jacob Bakema, Aldo van Eyck, Herman Hertzberger, Alison and Peter Smithson, Georges Candilis, Shadrach Woods, Giancarlo De Carlo.

Territorial range

A term developed in child psychology for the geographic distance from a fixed and known point from which a child is allowed to wander, play, and socialise.

Tools

Are specific methods and instruments used in the act of investigation to document and capture the experiences and perspective of engaged players. The application of specific tools to capture the experiences and perspectives of engaged players is determined by the overarching research strategy.

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IMAGE SOURCES

Figure 4 I Staff Reporters, “Pm’s Hard Sell on Gonski as Some States Hold Out,” Sydney Morning Herald with AAP. Figure 5 I Kirsten Orr, “W. E. Kemp’s School Buildings, 1880–1896,” Fabrications 19, no. 1 (2009): 96.

Figure 6 I Philip Goad, “‘A Chrome Yellow Blackboard with Blue Chalk’: New Education and the New Architecture: Modernism at Koornong School,” History of Education 39, no. 6 (2010): 744.

Figure 7 I “’Type 800’ High School,” Architecture Today 1967, 14.

Figure 8 I Cameron Logan, “Designing Australian Schools,” Architecture Media, http://architectureau.com/articles/ designing-australian-schools/#img=3.

Figure 9 I Peter Mould and Australian Institute of Architects, “The Sir John Sulman Medal for Public Architecture Examined,” Architecture Insights; NSW Architecture Reistration Board, http://architectureinsights.com.au/events/ the-sir-john-sulman-medal-for-public-architecture-examined/.

Figure 10 I Australian Institute of Architects, “2013 Architecture Awards Entry Handbook,” (Australian Institute of Architects, 2012), 33.2), 33.

Figure 11 I Australia Think Brick, “Horbury Hunt Commercial Award Brief,” (Think Brick Australia, 2013), 1.

Figure 13 I Antonella Rissotto and M. Vittoria Giulian, “Learning Neighbourhood Environments the Loss of Experience in a Modern World,” in Children and Their Environments, ed. Christopher Spencer and Mark Blades (Cambridge: Cambridge University Press, 2006), 80.

Figure 16 I Kenn Fisher, “Linking Pedagogy and Space,” ed. Department of Education and Training [Victoria] (Victoria2005), 2.02.

Figure 17 I Mike Davies, “The Interplay of Design and Learning: The Experience of Bsf,” in Take 8: Learning Spaces: The Transformation of Educational Spaces for the 21st Century, ed. Clare Newton and Kenn Fisher (Manuka, ACT: Australian Institute of Architects, 2009), 39.

Figure 18 I Herman Hertzberger, Space and the Architect: Lessons in Architecture 2, 2 ed. (Rotterdam: 010 Publishers, 2009), 260.

Figure 19 I Herman Hertzberger, Space and the Architect: Lessons in Architecture 2, 2 ed. (Rotterdam: 010 Publishers, 2009), 259.

Figure 20 I Lessons for Students in Architecture (Rotterdam: 010 Publishers, 1991), 23.

138

Figure 25 I All Saints Junior School, North-west corner (Photograph: Angus Hardwick, July 2013).

Figure 26 I Aerial photograph. Image edited: Angus Hardwick, (Belmore, GoogleMaps, 2013).

Figure 27 I Christine Phillips, “The Infinity Centre,” Architecture Australia, January/Februry 2013, 88-89.

Figure 28 I ”Penleigh and Essendon Grammar School Senior by Mcbride Charles Ryan,” dezeen magazine, http:// www.dezeen.com/2013/04/29/penleigh-and-essendon-grammar-school-senior-by-mcbride-charles-ryan/.

Figure 39 I Maryam Gusheh, “All Saints [Belmore, Australia],” Architecture Australia 2009, 66.

Figure 39 I Ibid.

Figure 48 I Ibid.

Figure 52 I “All Saints [Belmore, Australia],” 69.

Figure 54 I Candalepas Associates, “Selected Projects: All Saints,” Candalepas Assoicates, http://candalepas.com.au/ index.php/selected-projects/public-buildings/all-saints.

Figure 60 I Phillips, “The Infinity Centre,” 91; McBride Charles Ryan, “Projects: Pegs Senior: Photographs,” McBride Charles Ryan, http://www.mcbridecharlesryan.com.au/#/projects/pegs-senior/.

Figure 61 I Phillips, “The Infinity Centre,” 91, 95.

Figure 62 I Stuart Harrison, “Fitzroy High School,” Architecture Review Australia(2010), http://www. australiandesignreview.com/architecture/1440-fitzroy-high-school.

Figure 63 I McBride Charles Ryan, “Projects: Templestowe Primary School: Photographs,” McBride Charles Ryan, http://www.mcbridecharlesryan.com.au/#/projects/templestowe-primary-school/.

Figure 64 I Construction Engineering Aust, “Royal Domain,” Construction Engineering Australia, http://www.ceaust. com/~wwwceaus/project/91/royal-domain/.

Figure 65 I McBride Charles Ryan, “Projects: Pegs Senior: Construction Photographs,” McBride Charles Ryan, http:// www.mcbridecharlesryan.com.au/#/projects/pegs-senior/

139

Figure 66 I Lidija Grozdanic, “The Infinity Building / Mcr Architecture,” eVolo, http://www.evolo.us/architecture/theinfinity-building-mcr-architecture/; McBride Charles Ryan, “Projects: Pegs Senior: Design Development,” McBride Charles Ryan, http://www.mcbridecharlesryan.com.au/#/projects/pegs-senior/.

Figure 67 I PEGS Senior Process, Dniel Griffin, “Interview by Angus Hardwick. Extended Interview,” (The Foundry Cafe, Sydney2013).

Figure 68 I Ryan, “Projects: Pegs Senior: Photographs”.

Figure 69 I Phillips, “The Infinity Centre,” 91; Ryan, “Projects: Pegs Senior: Construction Photographs”.

Figure 70 I Phillips, “The Infinity Centre,” 91, 94; Ryan, “Projects: Pegs Senior: Photographs”.

Figure 73 I “Black Magic,” Australian Review Australia, August/September 2011, 51.

Figure 74 I Jørn Utzon Bagsværd Community Church, interior. (Photograph: Angus Hardwick, Janurary 2013).

Figure 75 I Phillips, “The Infinity Centre,” 93.

Figure 76 I “Black Magic,” 50.

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