We at ARM Architecture acknowledge the Traditional Custodians of Country upon which we live and work, throughout Australia.
Our Melbourne workplace is located on Country of the Wurundjeri peoples of the Eastern Kulin nation.
Our Sydney workplace is located on Country of the Gadigal peoples of the Eora nation.
Our Adelaide workplace is located on Country of the Kaurna peoples.
Our Brisbane workplace is located on the Country of the Turrbal peoples.
Our Gold Coast workplace is located on the Country of the Yugambeh peoples.
Our Perth workplace is located on the Country of the Whadjuk Nyoongar peoples.
We at ARM acknowledge all Aboriginal and Torres Strait Islanders and we pay our respects to Elders, past, present, and emerging. We recognise and respect their cultural heritage, beliefs, and relationship to the land.
We are committed to our reconciliation journey. We proudly support the Uluru Statement from the Heart and encourage our colleagues and partners to support the Statement.
MORE THAN A PLACE TO LEARN
Designing for education is a staggering responsibility. Learning environments shape lives. They determine students’ potential to thrive, to think, to excel, to work in diverse groups, and to love learning.
Educators have a responsibility to produce young adults who are broadly skilled and able to think and learn independently – capable people with a lifelong learning mindset and the tools to evolve and adapt. To uphold this responsibility, educational facilities must be thoughtfully designed. Designers are tasked with collaborating closely with schools to grasp their educational philosophies, ensuring that the allocation of space, layout, technology, and furniture are all meticulously planned to support these pedagogical methods.
A successful learning ecosystem is always student centred, designed for collaboration and activities that nurture independent learning. Pedagogy is moving from the discursive to the collaborative, projectbased and interactive. This means that formal spaces must become reconfigurable for different activities and teaching styles. The shift extends beyond the building. Outdoor learning spaces are increasingly important assets to schools, and should be designed as useful, attractive places where students want to be and where social lives and skills develop.
Informal spaces are crucial too: breakout zones between classrooms where students can study, focus,
discuss, collaborate, listen, compare, and share. These in-between places are also settings for serendipitous conversations with teachers and fellow students – places where learning breakthroughs happen, and individual needs are met.
ARM Architecture has been delivering large and complex education projects for government and independent clients for decades. Though varied in typology, users and location, these projects present a number of recurring themes: serving the community; defining a sense of place; providing a spectrum of learning environments; and crafting an identity that reflects the school’s unique cultural and physical setting.
Over the years, we have developed and refined a working methodology based on a cycle of research, production and evaluation. Research takes many forms. Unsurprisingly, the most important is listening to the client’s requirements. What do they need the school to do? What does the building mean? What are the teaching and learning ambitions? We listen to experts. We learn the language. And we do the legwork.
More Than a Place to Learn is a critical and ongoing part of that research. This book chronicles recent school projects to understand what has been achieved and where we can grow. It is not a brag book or something to sit on the coffee table. We have deliberately collected insights from our clients and
collaborators, yearning to understand the intelligence and acumen behind the projects.
The collection of articles in More Than a Place to Learn harnesses the collective knowledge of Traditional Owners, educators, principals, facility managers and academic researchers. It also includes conversations from ARM designers on past and current projects. From a K-12 Islamic school in Melbourne’s north, to an arts college housed within a historic building in Sydney’s Camperdown, the book covers a wide spectrum of educational settings. We hope this book offers a valuable insight into the co-creation processes behind each of the projects illustrated.
I’d like to extend my gratitude to all who have kindly shared their insights for this book. It simply wouldn’t have been feasible without your generous contributions.
Jesse
Judd Director, ARM Architecture
North Melbourne Primary School (Molesworth Street Campus).
SCHOOLS IN THEIR COMMUNITIES
REGIONAL SCHOOLS AS COMMUNITY PILLARS
Mark Raggatt Director, ARM Architecture
Joshua Morrin Senior Associate, ARM Architecture
In regional Australia, schools are more than just educational institutions; they are significant contributors to the social fabric. They host out-of-hours sports, polling booths, community events, fetes, charity balls and farmers’ markets. The smell of a sausage sizzle on a crisp morning, vocal discussion over the recent footy results, or the laughter and chatter between parents at school pickup—these experiences are integral to the life of our regional towns.
At ARM Architecture, we are currently engaged in designing three regional school projects for School Infrastructure NSW (SINSW): Yanco Agricultural High School, Murrumbidgee Regional High School (Griffith and Wade campuses), and Bomaderry High School. As projects they are quite different; it might be said their only real similarity is that they are school upgrade projects in locations beyond metropolitan Sydney. And yet what this cluster of projects does offer is an opportunity to consider the physical role of the school within the social fabric of its community.
SCHOOLS IN COMMUNITY
Our first project, Yanco Agricultural High School, involves creating new fit-for-purpose girls’ boarding accommodation facilities. Yanco, a small town in the Riverina with a population of just over 400, lies between Griffith and Wagga Wagga. Operating since 1922, the school is one of just three agricultural high schools that offer boarding in NSW.
Murrumbidgee Regional High School, with its Griffith and Wade campuses, serves a major regional city in the Riverina with a population of just under 30,000. Here, we are designing new multipurpose halls for each campus, addressing the need for versatile spaces that cater to both the school’s needs as well as various community activities.
Bomaderry High School, located on the south coast of NSW, shares a hybrid-town status with Nowra, divided by the Shoalhaven River. With a combined population of 38,000, Bomaderry itself is home to just under 9,000 residents. Our work here involves a significant school upgrade, including refurbishments to existing buildings, and a new building with associated landscape works.
Above (from left to right): Renders of Yanco Agricultural High School, Bomaderry High School and Murrumbidgee Regional High School.
SCHOOLS FOR COMMUNITY
In regional contexts, schools are more than just educational institutions— they are community hubs. Unlike metropolitan areas, where a range of facilities and services are readily accessible, regional schools must serve multiple roles. They provide spaces for community events, support intergenerational connections, and offer a sense of identity and pride for their towns. Our design approach recognises this expanded role, seeking to ensure that these buildings are adaptable and supportive of various community needs.
At Yanco Agricultural High School, the new boarding facilities provide a homelike environment for students, catering not only to their educational needs but also to their social and emotional wellbeing, fostering a sense of community and belonging. Our design
is clearly influenced by the architectural vernacular of agricultural sheds, which typify the landscape, yet it still has the character of a domestic building.
For Murrumbidgee Regional High School, the multipurpose halls at both Griffith and Wade campuses are designed to host a wide range of activities, from school sports events and assemblies to community gatherings and public functions, serving as central hubs of activity and engagement.
At Bomaderry High School, the upgrade works focus on creating fit-for-purpose classrooms and core facilities that serve the diverse needs of students and the broader community. The new building is designed to be accessible and welcoming, a new ‘front door’ for the campus enhancing the school’s role as a central and vibrant part of the community.
“IN REGIONAL CONTEXTS, SCHOOLS ARE MORE THAN JUST EDUCATIONAL INSTITUTIONS — THEY ARE COMMUNITY HUBS. ”
Render of multipurpose hall at Murrumbidgee Regional High School Griffith campus.
SCHOOLS OF COMMUNITY
Each of our projects is deeply rooted in its respective community. Yanco Agricultural High School’s new boarding facilities are more than dormitories; they are homes for students, reflecting the agricultural heritage of the region and blending domesticity with a sense of belonging.
Murrumbidgee Regional High School’s new multipurpose halls are more than just sports facilities. They are spaces for school assemblies, community gatherings, and public events, reflecting the civic role of the school in the town’s social life.
“THE NEW BUILDINGS ENHANCE THE SCHOOL’S VISIBILITY AND ACCESSIBILITY, CREATING A STRONG PUBLIC PRESENCE THAT REINFORCES THE SCHOOL’S IDENTITY WITHIN THE COMMUNITY.”
Bomaderry High School’s upgrade addresses both functional and symbolic needs. The new buildings enhance the school’s visibility and accessibility, creating a strong public presence that reinforces the school’s identity and relationship with the community.
Top: Existing shed at Yanco Agricultural High School. Bottom: Construction photograph of the new girls dormitory building at Yanco.
PROJECT INSIGHTS
Designing schools in regional areas presents unique challenges and opportunities. Stakeholder engagement is crucial; school leaders in regional communities have a deep understanding of their local needs, which is invaluable in tailoring our design approach. Understanding the local sentiment and tailoring project delivery to meet these specific needs ensures that the schools not only fulfil educational purposes but can offer so much more to their communities.
These are also established schools. While our work reflects the evolving priorities of School Infrastructure NSW and the Department of Education, it must also acknowledge the built heritage of each place. Each of our projects builds upon the language and legacy of existing campuses while addressing current needs and aspirations, balancing modern construction methods with the availability of local trades to ensure our designs are both innovative and practical.
The rate of development in regional locations can differ markedly from their metropolitan counterparts. These projects involve proportionately significant investments, often making them amongst the largest capital works projects in the area for some time. This amplifies the potential value of their impact, as they often represent the biggest construction job in town.
LOOKING AHEAD
Most of us hold vivid memories of our time at school; they are formative and foundational places. Our designs for Yanco Agricultural High School, Murrumbidgee Regional High School, and Bomaderry High School reflect our commitment to creating spaces that are more than just places to learn. Through these projects, we aim to provide a sense of identity, offer essential amenities, and maximise benefits for both the school and the wider community. They are designed to be integral parts of the community fabric and, importantly, places where memories are made and cherished.
Render of the new front entrance to Bomaderry High School.
TRANSFORMING SCHOOL FACILITIES FOR INCLUSIVE WELLBEING
Associate Professor Benjamin Cleveland
Principal Research Fellow, Learning Environments
Co-Director, Learning Environments Applied Research Network (LEaRN)
Faculty of Architecture, Building & Planning, The University of Melbourne
The intersection of school environments with the wellbeing of students and teachers is becoming a topic of increasing importance. In the past decade, interest in innovative learning environments has grown, prompting inquiries into how school buildings and landscapes can better support teaching and learning, as well as extended health and wellbeing programs and services. Advancements in digital technologies and internet connectivity have also necessitated innovative approaches to school design, often revealing limitations in traditional designs. Today, schools are expected to provide spaces for formal education plus sports, recreation, performances, communal gatherings, and physical and mental healthcare – with spaces no longer limited to students and teachers but extended to families, caregivers, and local communities, particularly outside regular school hours (Cleveland, et al., 2023).
Schools as Community Hubs for Inclusive Wellbeing
The World Health Organization (WHO, 2021) defines health as a state of complete physical, social, and mental well-being, highlighting the holistic nature of wellbeing beyond the absence of disease. Wellbeing, according to WHO (2021), encompasses a positive state experienced by individuals and societies, influenced by social, economic, and environmental
A classroom breakout space at North Melbourne Primary School (NMPS).
“TODAY, SCHOOLS ARE EXPECTED TO PROVIDE SPACES FOR FORMAL EDUCATION PLUS SPORTS, RECREATION, PERFORMANCES, COMMUNAL GATHERINGS, AND PHYSICAL AND MENTAL HEALTHCARE ...”
The rooftop at NMPS includes a productive garden and play spaces.
conditions. This perspective emphasises the collective capacity of societies to contribute positively to the world within favourable environmental conditions.
Recognising the importance of wellbeing for students, teachers, and the wider community, the WHO's (2023) Health Promoting Schools program seeks to enhance schools' capacity to promote healthy living, learning, and working environments. This paradigm shift sees schools as multi-service delivery platforms rather than solely academic institutions.
With these types of objectives in mind, Australian state governments have shown interest in recent years in improving relations between schools and communities to enhance individual, community, and societal wellbeing. Initiatives like the Community Hubs and Partnerships program in Queensland and the Wellbeing for Learning and Life developments in South Australia demonstrate a shift towards developing schools as community hubs. These initiatives have also included a focus on ecologically sustainable buildings with improved indoor environment quality (IEQ) for occupants.
Historically, research linking school design and wellbeing has predominantly focused on IEQ factors like natural/artificial light, air quality, thermal comfort, and acoustic conditions. Optimal environmental conditions are of course essential for effective teaching and learning, as adverse conditions can induce stressors on students’ and teachers’ health and hinder their ability to
collaborate effectively. The role of school buildings in ensuring suitable environmental conditions, adaptable to seasonal changes, is crucial. Recent attention has also turned towards mitigating airborne diseases (i.e., Covid-19) through enhanced ventilation and air filtration, underlining the pivotal role of school design in safeguarding health (Ding, 2023).
Understanding the intricate relationship between school buildings and wellbeing is pivotal for creating conducive learning environments. Through research, policy development, and innovative design, schools can evolve into community hubs that support the health and wellbeing of students, teachers, and local communities. Research conducted by the Learning Environments Applied Research Network (LEaRN) at the The University of Melbourne offers valuable guidance for stakeholders in this transformative process – see the following publications, Schools as Community Hubs: Building “More than a School for Community Benefit”, and the How to Hub Australia framework.
Resources, such as these, document a broader shift in educational planning, one that seeks to move beyond traditional academic models to promote holistic wellbeing. The comprehensive approach articulated recognises that fostering health, wellbeing, and community development is pivotal, especially in socio-economically disadvantaged areas, where the trusted relationships and supportive social networks surrounding schools can be leveraged to empower child and community development.
“THROUGH RESEARCH, POLICY DEVELOPMENT, AND INNOVATIVE DESIGN, SCHOOLS CAN EVOLVE INTO COMMUNITY HUBS THAT SUPPORT THE HEALTH AND WELLBEING OF STUDENTS, TEACHERS, AND LOCAL COMMUNITIES.”
Design for Students with Disabilities
Similarly, support for inclusive education, particularly for students with disabilities, is gaining traction in Australia and globally. While progress has been made, there remains a gap in understanding the environmental requirements to facilitate the participation of students with disabilities in schools. Further research in this area is essential to breaking down barriers to participation (Booth & Ainscow, 2002).
In line with the global trend of designing for inclusivity, LEaRN at The University of Melbourne will soon be embarking on a groundbreaking three-year study: "Designing Learning Spaces for Diversity, Inclusion, and Participation." This research project, funded by the Australian Research Council (ARC) Linkage scheme and partners, aims to develop an inclusive learning spaces design framework.
The project recognises the need for evidence-based approaches to design and modify mainstream schools. This framework will encompass knowledge from architecture, education, and health, providing critical evidence, tools, and guidelines for school planners, designers, educators, and individuals with disabilities. The objective is to create school environments that are safe, welcoming, accommodating, and stimulating, thereby supporting the participation of more students.
The conceptual foundation of this research is 'participation.' This term underscores the importance of access and meaningful involvement in learning. Moreover, it emphasises the interplay between social and physical/material factors that influence participation. This research recognises that participation is shaped not only by the physical environment but also by the attitudinal and social aspects of the space.
In summary, the convergence of architectural design, environmental quality, educational practices, and community engagement plays a crucial role in nurturing the holistic and inclusive wellbeing of individuals within and around the school environment. This comprehensive approach is poised to play a pivotal role in shaping the future of education and community development.
The fundamental proposition is that schools, as institutions, need to evolve beyond their traditional role of focusing on academic achievement. By embracing a holistic approach that prioritises health and wellbeing and by collaborating with partner organisations, schools can become powerful agents of child and community development, especially in underprivileged areas where schools can leverage existing social networks and trusted relationships to make a lasting impact.
REFERENCES
Building Connections (2022). How to Hub Australia: Evidence and advice for policy makers, school leaders and designers involved in schools as community hubs (Version 5).
The University of Melbourne. https://doi. org/10.26188/21692492.v5
Cleveland, B., Backhouse, S., Chandler, P., McShane, I., Clinton, J.M., Newton, C. Editors. (2023). Schools as Community Hubs: Building “More than a School” for Community Benefit. Springer. https://link.springer.com/ book/10.1007/978-981-19-9972-7
Ding, E., Zhang, D., Hamida, A., García-Sánchez, C., Jonker, L., de Boer, A., Bruijning, P., Linde, K., Wouters, I, Bluyssen, P. (2023). Ventilation and thermal conditions in secondary schools in the Netherlands: Effects of COVID-19 pandemic control and prevention measures. Building and Environment, 229. https://doi.org/10.1016/j. buildenv.2022.109922
World Health Organization. (2021). Health Promotion Glossary of Terms 2021. http://www.jstor.org/stable/ resrep39121
World Health Organisation (2023). Health Promoting Schools. https://www.who.int/health-topics/healthpromoting-schools#tab=tab_1
A student caring for the rooftop garden at NMPS (designed with Bush Projects).
SCHOOLS AS COMMUNITY BUILDERS
Honey Stirling Principal, Ngarri Primary School
Ashley Craig Principal, Karwan Primary School
ARM Architecture designed a bundle of six new schools for the Victorian School Building Authority (VSBA), located in Melbourne’s outer western suburbs on the lands of the Wadawurrung and Wurundjeri peoples of the Kulin Nation. The new schools are Karwan Primary School, Lollypop Creek Primary School, Nearnung Primary School, Ngarri Primary School, Thornhill Park Primary School, and a new campus for Warringa Park School, an established specialist school.
Now more than a year after their initial openings, ARM caught up with the principals of two of the schools – Ashley Craig from Karwan Primary School in Tarneit and Honey Stirling from Ngarri Primary School in Manor Lakes – to get their feedback on how the designs are faring.
Jesse Judd (JJ): With now more than a year since your schools have been open and operational, we’re eager to hear your insights. I’d like to start with your reflections on the campus masterplan. How has the schools’ layouts influenced social dynamics and learning?
Ashley Craig (AC): One of the main challenges in any school is to avoid overcrowding in any one area. The central spine, which I call the ‘main drag’, has been instrumental in achieving this. It offers a quick route through the centre of the school with plenty of inclusive play areas off the spine that cater for all ages and stages of childhood development.
The play spaces have been pivotal in dispersing students across the campus and encouraging a wide range of activities. Because of our unequal cohort, being a new school, we couldn’t have traditional age-based playgrounds to begin with, so a flexible choice model has allowed us to adapt to enrolment spikes and respond to students’ preferences and needs. As enrolment grows we’re now planning to further activity zones to increase the offering.
Honey Stirling (HS): In terms of layout, I love that the gymnasium is at the front of the school. It’s much easier for parents to access it after hours, as often they are hidden deep at the rear of schools. The playgrounds are hugely popular. We do need to manage which groups play where to ensure balanced access to nature, active play and immersive play.
JJ: The idea of schools as community hubs, particularly in developing suburbs, is a key concept for us. How have key facilities like the library, office, and canteen played into this role?
AC: Our school council has held off leasing out any spaces to community groups yet, focusing first on establishing the school. However, we’re looking at going down this path soon, to offering the gymnasium to community groups. The school’s welcome landscape offers a community address to the school and manages the balance between the public realm and the privileged space dedicated to the school community.
Overall, families have embraced the school’s design and facilities, there seems to be real sense of pride
Karwan Primary School.
about it. The thoughtful layout and vibrant colours really enhance the school’s identity. It’s a colourful beacon in the community and an appealing place to send your kids. Parents often tell me they are proud to send their children here.
JJ: Let’s talk a little about how the staff hub and library building works. The idea behind its design was to allow you to adapt the spaces as you needed depending on your staff numbers.
AC: The large staff room and staff kitchen areas have been very successful. It’s a generous space and staff like spending time here. While we’ve encountered some layout challenges as we have grown, the overall feedback has been positive. For us, the extension of the staff areas in to the library allows for an expansive conferencing facility for the school –it’s become a highly flexible space to conduct professional development.
HS: At Karwan, we’ve embraced a the main library, mini libraries within the learning environments, as well as a digital library platform, combining to offer the broadest possible access. As we grow, the use of the main library will continue to change over time. It’s become a hub for professional development just as at Ashleigh’s school, as well as a centre for literacy for prep to grade two. I’ve found that
the Principal’s Office extends well into the dedicated meeting room adjacent. I’ve also installed pin board all over the walls which I love.
JJ: With current enrolment figures, how has this impacted the use of these adapted spaces?
HS: Our current enrolment of 535 students has pushed us to use spaces more flexibly, particularly as we await new relocatable buildings that will ease the pressure. One example is the digital library platform we implemented, which supports our entire school community by offering tens of thousands of books and other resources without taking up any physical space.
JJ: How are the community hub facilities, including the gym and canteen, utilised, particularly regarding after-school hours care?
HS: The gym has proven to be highly versatile, it’s also a very impressive space with its generous size and design quality. It’s used not only for sports but also performing arts, and events like assemblies, milestones and graduations. After school hours care (OSH) is run out of the specialist building, which includes food technology, science and arts spaces, and they spill into the adjacent learning environment, especially the
flexible assembly space. Right now, we don’t use the canteen.
We also use the food tech area for a breakfast club. Later this year will commence canteen services. Our focus will be to create financially viable options without imposing on families.
Interior spaces at Karwan and Ngarri.
“THE CLASSROOMS ARE CLEARLY DESIGNED WITH FLEXIBILITY IN MIND, AND THEY WORK WELL IN SUPPORTING PLENTY OF TEACHING METHODS AND LEARNING STYLES. TEACHERS FIND THESE SPACES A KEY DRAWCARD TO WORKING AT THE SCHOOL ...”
Shared Learning Commons
Breakout Rooms
Outside Access
Study Nooks
Tiered Seating
Staff Kitchen Reception Meeting Room
Principal’s Office
Airlock
Staff Meeting
Tiered Seating
AC: As enrolments continue to grow next year, we’ll start a tender process to bring in an external operator. We want to make sure that the number of kids that we have will make it financially viable for the external company without having to jack up the prices ridiculously, because that puts extra financial pressure on families.
JJ: Let’s discuss the arrangement of classrooms and other learning environments. How do they support for diverse teaching styles and student needs?
HS: The classrooms are clearly designed with flexibility in mind, and they work well in supporting plenty of teaching methods and learning styles. Teachers find these spaces a key drawcard to working at the school, giving them the option to combine classes when it suits them. The incorporation of the breakout spaces between classrooms is great and we use these for sensory activities or individual learning support.
It’s also nice to have the option of moving the lockers in and out of the classrooms, as they’re on wheels, but aesthetically I prefer lockers to stay within classrooms. We’ve put a ban on teacher desks in all our classrooms.
AC: I would agree with everything Honey has said, and we also have a ban on teacher desks in classrooms.
The clear definition of each of the classrooms allows for focussed learning as appropriate, and by clustering them in group of three, we can switch to a team-teaching method – either inside the classroom or in the adjacent gathering space. The breakout rooms allow for focus and retreat, as well as noisy activities. The mini libraries put student literature right where it’s needed.
JJ: Moving onto the gender-neutral toilets, how have they been received? Any challenges or successes you’d like to share?
Ngarri Primary School.
Opposite: Tiered seating space at Ngarri Primary School.
BETHANY ROAD
RIVELLA CIRCUIT
Masterplans by ARM Architecture and Bush Projects. Ngarri Primary School (top), Karwan Primary School (bottom).
“I LOVE THAT WE HAVE BUNJIL, THE GREAT CREATOR SPIRIT OF THE KULIN NATION, LOOKING OVER OUR CAMPUS, IN A SENSE PROTECTING OUR SCHOOL COMMUNITY.”
AC: There were some initial concerns from families, but once parents see them, they feel assured. And the clear visibility, the privacy of the cubicles and cleanliness are terrific compared to traditional designs.
HS: The feedback on the toilets has been overwhelmingly positive, they are both aesthetically great and functional. We also had a few parents raise concerns at the beginning, but I think the amenities are well embraced now.
JJ: Regarding staff facilities, how have the workspaces been received? Are there any improvements or suggestions?
HS: The staff areas are equipped with things like coffee machines, and our staff find them comfortable and functional workspaces. The way the staffroom extends into the adjacent flexible staff workspace allows for real flexibility as the enrolment and staff cohort expands.
AC: The smaller workspaces adjacent to the learning environments have become a place for focus for year level teaching cohorts and subject matter specialists.
JJ: An underdiscussed aspect in school design is the impact of acquiring and retaining staff, which I’d imagine is one of your biggest challenges. To what extent does the built environment contribute to this?
HS: It’s huge. We’ve found that plenty of people are turning down offers at more established schools with good reputations after they have a tour of our facilities. The aesthetic appeal and the overall character of our school is a significant draw for new teachers. So, it’s very much about the look and feel of the school. The vibe can sometimes be a major attraction for teachers.
AC: I agree. People are genuinely impressed by it.
JJ: Overall comments on what you feel was missing in the design of the schools?
AC: For me, an important aspect of the landscaping would have been the inclusion of facilities for cricket, considering a significant portion of our student population comes from cricket-loving countries like India and Pakistan. There’s no ‘cricket season’ per se; it’s cricket all year round for us. This is something we plan to implement soon.
JJ: Yes, cricket was always intended but unfortunately not everything in the landscape plan was built due to budget constraints. We can share plans of where the cricket would have gone.
HS: I would have loved more storage – you can never have enough. There are a few minor things like this that we have discovered along the way, but nothing major. Basketball hoops for younger kids is something we are looking at installing soon. And a mirrored wall in the gym has also been suggested by staff, for drama and dance and so forth. These are all relatively minor projects.
JJ: That’s all great feedback, thank you. Any final comments?
HS: The distinctive design and colour schemes of our schools have not only made them landmarks in their communities but have also fostered a deep sense of pride among students, parents, and staff. I think the design, with the colours and the layout, is great for our community. For me, I love it and I love coming to work here every day.
AC: I agree. And I love that we have Bunjil, the great creator spirit of the Kulin Nation, looking over our campus, in a sense protecting our school community. This artwork by Marlene Gilson is fantastic.
AL SIRAAT COLLEGE: DESIGNING WITH AND FOR A COMMUNITY
Al Siraat College is an independent co-educational Foundation to Year 12 college located in Epping, Victoria. ARM Architecture recently completed a masterplan for the college in 2023 and is currently progressing designs for a new teaching and learning building on the site. ARM Principal Jenny Watson caught up with Al Siraat founders Fazeel Arain, College Director and Rahat Arain, Director of Student Learning, to discuss the history of the school and the projects ARM is currently engaged with.
Jenny Watson (JW): Could you provide a brief history of the school? How old is it, who started it, and a bit about its ethos?
Fazeel Arain (FA): The college was founded in 2009 on land purchased in 2007. Initially starting with 80 students, we have now grown to over 1400 students. The founders are Rahat and myself, we envisioned an Islamic school that embraces both Australian and Islamic identities. We aim to nurture students who are comfortable being both Aussie and Muslim in Australia. Our philosophy emphasises that learning should lead to personal transformation, with the belief that real success comes from becoming better individuals. Our vision revolves around self-transformation to positively impact the world.
JW: What is the geographic reach of the school? Do students travel long distances, or are they mainly from the surrounding area?
FA: When the school started, our catchment included much of the City of Moreland. We had students coming from Fawkner, Coburg, Heidelberg West, Footscray, Carlton Towers, City of Hume, Broadmeadows, Meadow Heights, Craigieburn, and Roxburgh Park. However, a significant shift has occurred, with over half of our students now coming from our local area. The school’s popularity has led to families moving into the vicinity. Additionally, we have become a local school with a strong community focus, offering prayer facilities and hosting daily prayers attracting around 60 people for morning prayers and over 150 for evening prayers.
JW: Apart from teachers, students, and those directly engaged with the school, who else contributes to the wider school community? Are there other functions that the school provides for community members?
Fazeel Arain College Director, Al Siraat College
Rahat Arain Director of Student Learning, Al Siraat College
Rahat Arain (RA): The school is not just an educational institution but also a community hub. Our community is primarily school-based and prayerbased, so there are two main groups. The school attracts individuals from the surrounding area for prayers, forming an integral part of our Islamic tradition.
FA: Another third group involves individuals who invested in the school through a unique financial model. They played a crucial role in the school’s establishment by investing their money, including superannuation funds. While not actively involved in day-to-day activities, these investors, many of whom are parents and local community members, are invited from time to time.
JW: How does a school community built around shared religion differ from one that’s built around a geographic catchment alone?
RA: Our prayer facility is the heart of the college, serving as the focal point for everything related to school values, community, and youth. It revolves around prayer, defining the essence of our school. The five daily prayers at the college also play a significant role, encouraging people to live nearby. The proximity to a mosque is crucial for practicing Muslims, influencing the decision of many to move into the area. The school community, including those who attend or don’t, and others moving in for the prayer room, forms the foundation of our community. The college was initially established not only as a school but also as a space for the community to come together, support each other, and engage in various educational activities. We run workshops not only for students but also for parents and extend programs to the wider Muslim community in the area, regardless of whether their children attend the school.
Masterplan for Al Siraat College in Epping, Victoria.
Conceptual render of the Years 7-9 Building (top) and proposed Mosque (bottom).
“THROUGH FAITH-BASED ACTIVITIES, OUR GOAL IS TO FOSTER LEARNING, MUTUAL SUPPORT, AND A STRONG SENSE OF PRESENCE, ENCOURAGING INDIVIDUALS TO STEP OUT OF THEIR HOMES, AWAY FROM SCREENS, AND RECONNECT WITH ONE ANOTHER.”
JW: How does ARM’s involvement address the school’s specific community needs, and what’s the wider vision for how the campus is developing?
RA: ARM has been responsive and collaborative, understanding our evolving needs. The involvement has been an iterative process, with constant communication and feedback from students, staff, and parents. The engagement began with the design of a campus masterplan and has now moved onto the design of a new teaching and learning building for years seven to nine. ARM’s expertise, patience, and openness to making changes have been crucial.
FA: The ongoing projects include the seven to nine building as mentioned, which has a rooftop basketball court, and a significant mosque project, which is still in a very early design phase. We’re also exploring opportunities for additional facilities like a gym, and I’ve got on my radar to fit in a swimming pool somehow. These are amazing facilities that can be used after hours as well, so we’re always looking for opportunities to connect the community into what we’re doing here.
RA: Also, we visited a very impressive library in Christchurch recently that changed our understanding of what a library can be: it catered to all age groups, from toddlers to 80-year-olds. There were maker spaces, sewing machines, so much beyond books. it was amazing. We saw this incredible engagement happening for all age
groups and that’s what I’m envisioning for our school one day, having a library space like this for the community. Through faith-based activities, our goal is to foster learning, mutual support, and a strong sense of presence, encouraging individuals to step out of their homes, away from screens, and reconnect with one another.
Like I have mentioned, we’ve had a lot of design iterations and ARM has been very patient with us and they’ve really listened. For example, I’m very keen on traditional Islamic architecture and Fazeel is more into the modern architecture. So far, ARM has achieved a good balance between these preferences.
FA: We are interested in the idea of what an Australian Mosque should look like. ARM has given us some concepts to consider, so we’ll have to see which one we go forward with.
CREATING TOGETHER
NAVIGATING THE DICHOTOMY OF SECONDARY AND TERTIARY DESIGN
An article informed by a conversation between ARM’s Neil Masterton, Jesse Judd, Amber Stewart and Jeremy Stewart.
The creation of educational spaces is a complex dance, with each step informed by the unique needs and nuances of the institutions they serve. A fascinating dichotomy emerges when comparing the intricacies of designing for secondary education against the backdrop of their tertiary counterparts. In this exploration, we delve into the fundamental differences that shape our approach to these two realms, each demanding its own set of considerations and solutions.
Understanding the ethos
One of the primary distinctions lies in how we as architects unravel the ethos of the educational institution. In secondary education, institutions often rely on their strategic plans or guiding principles. These principles are often quite abstract concepts; but they are the scaffolding on which the entire design must connect to. Contrastingly, tertiary institutions typically present their ethos through more fleshed out ‘place pillars’ that are spatially grounded.
Melbourne Girls Grammar School (MGGS) serves as an example where we had to first translate the school’s guiding principles (which were not spatial) into a set of ‘place pillars’, bridging the school's strategic plan with its physical structure.
The emphasis on institutional identity becomes pivotal, highlighting that with secondary school design, it’s more about the school itself, its place in the community, and its defined principles.
Arts West, The University of Melbourne.
Defined briefs vs. relational unpacking
Secondary projects, unlike their tertiary counterparts, often lack a clearly defined brief. As architects, we often embark on site tours, seeking to build relationships with key staff members from the outset. These tours serve as ice-breakers, facilitating a relational process that unpacks the brief organically. The emphasis is on understanding the institution's values, expressed and unspoken, and translating them into physical spaces that reflect the institution's identity.
On the other hand, tertiary projects often come with detailed briefs, providing a clearer roadmap for architects. The dichotomy here is evident—the personalised touch and leadership required in secondary projects versus the more structured approach to tertiary design.
Focus on values: Translating ideals into spaces
The heart of the design process lies in translating institutional values into physical spaces. For secondary institutions, it's about expressing values in place, creating connections between spaces that foster the achievement of these values. As architects, we ask questions about how values are expressed and taught, making it the school’s responsibility to make those values tangible. In the context of secondary education, the physical situation and constraints of current spaces become crucial considerations.
Conversations often extend beyond explicit values to the unspoken, delving into issues that institutions may not publicly broadcast. A case in point is addressing welfare issues that might be significant but not openly discussed. This depth of engagement reveals itself in the final design, as spaces are carefully curated to align with both the stated and silent values of the institution.
Academic focus: The proposition of each institution
The academic focus of each institution is a defining factor in the design process. Independent secondary schools, such as St Leonards, may place emphasis on specific areas like music and arts to distinguish themselves from neighbouring schools. In contrast, tertiary institutions often face the challenge of interpreting much broader academic missions into tangible spaces that cater to diverse disciplines. Specificity is often explored at the precinct level, where it’s easier to focus on themes.
The design challenge in tertiary education is often about providing spaces that can accommodate a wide range of academic disciplines. The focus shifts from emphasising one specific area to creating an inclusive environment that fosters interdisciplinary collaboration. It's a delicate balance between specialisation and inclusivity, a dynamic interplay that architects must navigate.
Methodological approaches
Secondary and tertiary design projects require different methodological approaches. Secondary projects often involve extensive workshops and individual interviews with stakeholders. For example, MGGS spent a month workshopping with stakeholders to identify key guiding principles. These approaches foster a deep understanding of the institution's aspirations, allowing us as architects to tailor the design to the unique needs of the school.
The COVID-19 pandemic added another layer of complexity to the process, forcing a shift to online interactions. This adaptability underscores the importance of flexible methodologies in responding to external challenges. Tertiary projects, while still involving workshops, might not require the same level of intensive relational engagement due to the more structured nature of the briefs.
“SECONDARY PROJECTS OFTEN INVOLVE EXTENSIVE WORKSHOPS AND INDIVIDUAL INTERVIEWS WITH STAKEHOLDERS.”
Arts West, The University of Melbourne.
Pedagogical evolution: Post-COVID dynamics in secondary learning
Post-COVID dynamics have significantly impacted pedagogical approaches, particularly in secondary education. At Al Siraat for example, we’ve observed a move towards more junior-style pedagogy, with students in years 7-9 staying in one classroom while teachers move around. This shift challenges traditional notions of classroom dynamics and requires architects to accommodate the evolving needs of education in the post-pandemic era.
The focus on pastoral care in secondary schools stands out as a significant difference. Unlike the greater agency granted to students in tertiary settings, secondary schools prioritise individualised care for each student. Educators are more present within the learning environment, with offices co-located for increased visibility. The intimate nature of secondary education spaces becomes a critical consideration, reflecting the nurturing ethos of these institutions.
Community integration: Constant selling mode in private secondary education
One of the defining characteristics of secondary education design is the need for constant community integration. Unlike universities that may not emphasise their immediate locality, secondary schools are deeply intertwined with their communities. Melbourne Girls Grammar School and St Leonard's, for example, need to connect intimately with their surroundings, reflecting the locality and values of the community.
Private secondary schools are, in a sense, in constant selling mode. The physical spaces need to represent the point of difference, showcasing what the school offers to parents who play a crucial role in the decision-making process. The challenge lies in being parent and community-friendly, with open hours extending beyond regular classes to cater to the diverse needs of the community.
“TERTIARY PROJECTS, WHILE STILL INVOLVING WORKSHOPS, MIGHT NOT REQUIRE THE SAME LEVEL OF INTENSIVE RELATIONAL ENGAGEMENT DUE TO THE MORE STRUCTURED NATURE OF THE BRIEFS.”
St Leonards College, Brighton.
Unique challenges: Lockers, security, and staff retention
Architects designing for secondary education grapple with unique challenges not present in tertiary settings. The requirement for lockers, usually absent in tertiary environments, becomes a crucial consideration, impacting space, circulation, and safety. Security concerns become more pronounced, reflecting the need to create safe and nurturing environments for students.
Staff retention also emerges as a critical issue, with parking often being the largest challenge, especially in inner-city schools. Unlike universities that are typically well connected to public transport, where staff may commute from various locations, the location of secondary schools may not always align with convenient public transport connections. This challenge adds another layer of complexity to the design process, requiring us as architects to address not only the academic, but also the practical needs of the institution.
Beyond classrooms: Breakout spaces and social dynamics
A notable observation we’ve made is the frequent absence of breakout spaces in secondary school briefs. While there is a meticulous focus on classrooms and their sizes, the social spaces are often overlooked.
As architects, we find ourselves tasked with creating social spaces outside of classrooms, transforming broad circulation areas into dynamic hubs of interaction.
This stands in stark contrast to university campuses, which inherently have good wayfinding and often welldefined social spaces. The evolution of secondary schools, often with limited funds over many years, has resulted in piecemeal developments that can resemble rabbit warrens. Navigating these intricate spaces requires a keen understanding of the historical evolution of the school and an ability to transform challenges into design opportunities.
Arts West, The University of Melbourne.
Architectural alchemy in education design
In the intricate dance of educational design, architects find themselves weaving a tapestry that marries the tangible with the intangible, the explicit with the unspoken. Designing for secondary and tertiary education demands a nuanced understanding of each institution's identity, ethos, and the dynamic interplay between academic, social, and community needs.
Secondary education design is about crafting spaces that go beyond the academic, embracing the social, cultural, and community facets of learning. It requires us as architects to immerse ourselves in the ethos of the institution, translating values into physical forms. Tertiary education design, while still rooted in institutional missions, demands a broader approach, accommodating the diverse
academic landscape of universities and their place in the national and international education market.
As we navigate this architectural alchemy, we need to become storytellers, shaping narratives in bricks and mortar. In the secondary realm, the story is one of intimate community connections, constant adaptation, and a commitment to nurturing the individual. At the tertiary level, it's about creating inclusive environments that foster interdisciplinary collaboration and adaptability to the ever-evolving academic landscape.
Designing for education is not just about designing practical structures; it's about creating environments that inspire, nurture, and adapt—a delicate balance that designers must master as they shape the future of learning institutions and the next generation of decision makers.
MOVING THE SCHOOL: SYDNEY COLLEGE OF THE ARTS
Completed in 2020, the Sydney College of the Arts (SCA) Relocation Project involved the careful adaption of the heritage-listed Old Teachers’ College building at the University of Sydney’s Camperdown campus to serve as the new home for the SCA. ARM Director Mark Raggatt and Associate Director Amber Stewart discuss the meticulous process ARM took to realise this complex project.
Mark and Amber, could you start by giving us an overview of the project’s inception, including the initial challenges posed by the move?
Mark Raggatt (MR): The project began amidst considerable controversy, the university proposed closing the College, primarily due to a significant operating deficit. The college is beloved by the community so the potential closure was met with protests. Our challenge was not just architectural but in reconciling various stakeholder visions within a heritagelisted site.
That sounds like a complex starting point. How did you approach these challenges, especially considering the contentious background?
MR: Our first step was understanding the depth of the College’s community engagement and its significance. We had to navigate the eroded relationships within the project team and between stakeholders, aiming for a solution that preserved the College’s educational offer and identity while addressing financial sustainability. Engaging in transparent, open dialogues with all parties involved was crucial. We undertook detailed planning with department heads, technicians, and the university administration to ensure the new
space met the diverse and specific needs of each art discipline.
Could you talk a bit about the decision to relocate the College and the issues that presented?
MR: The decision to relocate Sydney College of the Arts from Rozelle to its new home at Camperdown stemmed from multifaceted challenges rooted in the college’s isolation from the larger student body of the university and the college’s visibility to the art community. The move was strategic, aimed at preserving the College’s legacy while creating a sustainable future. Relocating to a heritage-listed building within the University of Sydney’s main campus addressed these challenges head-on, providing an opportunity to reimagine the College’s space in a way that respected its history and embraced contemporary educational needs.
With such a focus on collaboration, what specific design challenges did you face, especially considering the heritage constraints?
Amber Stewart (AS): Adapting a heritage-listed building to modern educational needs required innovative thinking. We had to install dedicated ventilation systems for studios and workshops, metals, fumes, and dust.
“ADAPTING A HERITAGE-LISTED BUILDING TO MODERN EDUCATIONAL NEEDS REQUIRED INNOVATIVE THINKING.”
This was particularly challenging within the building’s historical framework. Each space, from photography studios to sculpture workshops, needed to be specifically tailored, ensuring functionality and compliance with strict safety and heritage conservation standards.
The need for flexible spaces that could adapt to the evolving pedagogical approaches in art education also posed a challenge. Traditional layouts of heritage buildings often feature
Permeable screen designed for the glassworks.
Technical spaces within the refurbished SCA.
“WE WERE FORTUNATE TO HAVE THE INVOLVEMENT OF SPECIALIST TECHNICAL STAFF WHO UNDERSTOOD THE PRACTICAL CONSIDERATIONS WELL AND COULD PROVIDE VALUABLE FEEDBACK ON OUR CONCEPTS.”
compartmentalised rooms, which are at odds with contemporary educational philosophies that favour open, versatile spaces to encourage collaboration and creativity.
Could you talk a little about how you engaged with the various departments and got insights into the specific needs of each?
AS: Sure. ARM’s audit process for the Sydney College of the Arts Relocation project was a meticulously structured approach designed to distil the specific needs of each art discipline into the new space. This comprehensive audit involved in-depth consultations with faculty members, technicians, and students to understand the unique requirements and workflows of disciplines such as painting, sculpture, digital arts, and jewellery making.
The team carried out detailed analyses of the spatial, technical, and
environmental needs of each area of study. This included evaluating the size and nature of spaces required for studios, galleries, and workshops, as well as the specialised equipment necessary for each discipline. Key considerations also included lighting, ventilation, and safety requirements, particularly for disciplines involving hazardous materials or processes.
By mapping these needs against the constraints and opportunities presented by the heritage building, ARM was able to develop a nuanced plan that accommodated the diverse requirements of the College’s departments.
Also, we were fortunate to have the involvement of specialist technical staff who understood the practical considerations well and could provide valuable feedback on our concepts. For example, Rhonda Dwyer, a technician from the jewellery
department, was instrumental to the project. Rhonda’s deep involvement was pivotal in tailoring our designs to meet the specific needs of jewellery making. Through workshops and iterative feedback, she provided insights on equipment, safety, and spatial arrangements, ensuring the new facilities would support intricate jewellery processes effectively. Her hands-on experience informed practical solutions, such as custom workbenches and optimised storage, enhancing both functionality and safety. This partnership highlighted the importance of integrating onthe-ground technical expertise into our designs, ensuring the final spaces were not only compliant with heritage and safety standards but also conducive to creativity and learning.
The project also navigated some cultural and political considerations, particularly around the facade design. Could you expand on that?
MR: Yes, the facade design was hotly debated! It was the project’s only external intervention, encasing the new hot workshop for glassworks. The glassworks is surrounded by a permeable screen, which must allow the kiln room to ventilate the hot air coming from the kilns. There is plenty of foot traffic passing through this part of the campus, so it presented an opportunity to give the college a public face. The façade is inspired by Moire screens, Reticello glass, Etienne-Jules Marey’s motion capture studies, CMYK printing, and the idea of the ‘figurative’ in art and architecture.
We initially proposed a design using human body representations, aiming to capture the commonality of the human figure, and the tension between art and architecture as expressive disciplines. This sparked fascinating and involved discussions on gender, sexuality, politics, and the historical representation of bodies in art, leading us to consider more abstract alternatives. Ultimately, after
extensive debates and consultations, including with the faculty’s Dean, we retained the figurative concept. It was a learning curve, emphasising the value of conversation, openness and sensitivity in our design process.
What do you consider the project’s most significant outcomes?
MR: The relocation turned the College’s financial trajectory around, from a significant deficit to a successful and sustainable operation. Courses are now fully subscribed, with the College attracting a wider audience across the university.
Reflecting on the project, what insights have you gained, particularly concerning working with heritage buildings and complex stakeholder environments?
MR: The Sydney College of the Arts Relocation project illustrates the potential of architecture to facilitate transformational change within educational institutions. It demonstrates how spaces can be reimagined to foster creativity, community, and sustainability. For the broader field, it serves as a case study in adaptive reuse, stakeholder engagement, and navigating the complexities of contemporary educational needs within heritage contexts. It reinforces the idea that architecture is not just about buildings but about creating environments that enhance human experience and community engagement.
“THE RELOCATION TURNED THE COLLEGE’S FINANCIAL TRAJECTORY AROUND, FROM A SIGNIFICANT DEFICIT TO A SUCCESSFUL AND SUSTAINABLE OPERATION.”
Print room.
Top: Photo Media Studio (before and after).
Middle: Gallery (before and after).
Bottom: Ceramics and Kiln Room (before and after).
CONNECTING TO COUNTRY AND PLACE
DESIGN FOR COUNTRY IN EMERGING SUBURBS
Stewart Russell Co-Founder, Spacecraft Studios
Spacecraft Studio was commissioned by ARM Architecture to develop and deliver an artwork plan for five new schools in Melbourne’s western suburbs. ARM needed artworks capable of positioning First Nations knowledge and creativity at the core of each school’s design process.
From the outset we imagined the artists working in collaboration with the architectural design team to ensure artwork ideas were developed within the context of the overall design. We alighted on a framework underpinned by First Nations research and found the possibility of the five sites being considered together strengthened the potential significance of each artist’s work, and indeed this aspect of the curatorial plan helped attract all our first-choice artists. Ultimately, commissioning First Nations site research was the key that opened up possibilities for individual artist commissions.
The school sites, located east and west of the Werribee River system, mark the boundary of Wadawurrung and Boon Wurrung / Bunurong land. As most of the schools were on the Wadawurrung side, we started looking for a Wadawurrung cultural
researcher to lead the project. For this task we sought the help of academic and educator Bruce Pascoe. Bruce had previously worked with the Wadawurrung Traditional Owners Corporation to record resistance to colonisation. His contacts set us on a trail that ended up with Uncle Barry Gilson, the Wadawurrung poet, performer and cultural researcher. Barry has a particular interest in reviving Wadawurrung language and passing on cultural knowledge through oral tradition, storytelling and performance. Barry has received research and performance commissions from a wide range of cultural institutions – The ABC, The National Gallery of Victoria, Meredith Music Festival, White Night, Geelong Art Gallery and many others. He decided to frame the site research for each school to fit either a specific Wadawurrung perspective for those schools on the west of the Werribee River, or a wider Kulin nations point of view for the schools on the Boon Wurrung / Bunurong side of the river system.
The site research was presented orally in a performance that we filmed to pass on to the five artists: Mitch Mahoney, Paola Balla, Marlene Gilson,
Opposite (from top left to bottom right): Spacecraft Studios; Stewart Russell; Mitch Mahoney; Marlene Gilson; studio workspace; studio printing.
“WORKING AT OUR STUDIO IN FOOTSCRAY, KAIT’S DRAWINGS WERE TRANSLATED INTO SCREEN PRINTS AND EDITED DOWN TO A FINAL PORTFOLIO OF ARTWORKS, WHICH WERE HANDED OVER TO ARM ARCHITECTURE.”
Tammy Gilson and Kait James. The research topics covered a range of First Nations themes: Astronomy; Agriculture; Habitat Management; Aquaculture; and Geology.
Using the Ngarri Primary School in Manor Lakes as an example, Uncle Barry’s research looked at First Nations agriculture and land management, focusing on two seasonal staples – Murnong (Yam Daisy) and Clematis aristata – which likely would have been cultivated by Wadawurrung people on the school site. Barry also covered the practice of burning off, how to create the conditions for Murnong crops, and the knowledge and materiality of First Nations tool making.
The site research was matched to Wadawurrung artist Kait James. Kait connected with Barry’s narrative through her own experiences, cultural knowledge, and art practice, and drew on a story of the She-oak forests and Barry’s Clematis aristata to create a
series of drawings. Working at our studio in Footscray, Kait’s drawings were translated into screen prints and edited down to a final portfolio of artworks, which were handed over to ARM Architecture. The design team presented their ideas back to Kait, showing the artworks realised across exterior and interior surfaces. Finally, the artists and Uncle Barry attended the opening of each school to see the artist/architect collaboration in situ and to open lines of communication with the new school principals and key staff members. The results of these interactions will run their course. We are optimistic that the schools will embrace the artworks and research integrated within the design. We believe that this creative collaboration has the potential to contribute to the development of culturally resilient school communities.
Opposite: Mitch Mahoney at Spacecraft Studios.
ARTICLE SONGLINES FOR NEW BEGINNINGS
Nearnung Primary School and Warringa Park Special School
As discussed in the previous article, Wadawurrung poet, performer and cultural researcher Barry Gilson was engaged by Spacecraft Studio and ARM Architecture to prepare site research for each of the new schools to be delivered in the VSBA’s Bundle A, all located in Melbourne’s outerwestern suburbs. Barry’s research was presented orally, through stories, in a performance that was filmed to pass on to the artists. Here, we present the transcripts.
The original films can be viewed via the QR codes accompanying each transcript.
Songline – You Yangs to Wilsons Promontory
Artist: Mitch Mahoney
A songline was called a Barring, a chant trail, it was walked for thousands of years. An initiation and learning journey. Part of an ancient songline that stretches from Coorong in South Australia in the west to Wilson’s Promontory in the east. Loo-Errn and the Coonawarra sisters made granite formations across the countryside north and west of Anakie Youang, Langi Ghiran, Arthur’s Seat, Cape Woolamai, the Strzelecki Ranges and Wilson’s Promontory. Wadawurrung in Bunurong men would travel these songlines learning from the Elders as they went along, learning about nature, plants, what was for food, and what was for medicine, learning about the animals, learning about the Country, and also learning about themselves. This explains why our languages have similarities. As we traverse across each other’s tribals areas, Loo-Errn is represented by all things that are made of granite. We celebrate our ancestral hero Loo-Errn.
Habitat – Management and Conservation
Artist: Paola Balla
Why the koala had no tail. Once, when water was scarce, Gula the Koala never knew about it. People thought he had a secret supply. But no one could ever find it. Buln Buln the lyrebird, offered his assistance. He tracked Gula down, way out in the distance. Gula has a tail in those days. It was very long ago. He used to hang like possums in the tree, drinking water from the hollows. Buln Buln set fire to the tree. It made the tree burst and pop. Water shot out in all directions, and all the people got a drop. Gula jumped quick to save his life and left his tail behind. It was coiled around the branch, like a snake around a vine. This is why now they have no tail. Just claws to grab the bark. Buln Buln, who carried the fire sticks, has since had brown-red tail feather marks.
Thornhill Park Primary School
Barry Gilson
Artist: Marlene Gilson
Bunjil, the eagle, was a head man of the Kulin tribes. He was a creator. In a time where people could transform from their human form into their animal form. He created the land. And the men. He worked with six strong men who helped transform the country to what we see now.
After Bunjil was done, he asked Ballan Ballan the Currawong to open-up his bag, as he was keeper of the Whirlwinds, to blow him and his family into the sky, where they looked down from Alcheringa, the place where they are now. A place of ancestral heroes. Bundjil is associated with a geological stone, basalt. At all basalt stone formations, we celebrate our ancestral hero, Bundjil. Bundjil is a star Altair, which is the brightest star in the constellation, Aquila the Eagle beside him, [by] each side are his two wives, the Black Swan Coonawarra sisters. Coonawarra the Black Swan is the star Alshain and her spirit sister is the star Tarazed. Bunjil's three sons, a Dara Mullin, Turt and Binbeal. Dara Mullin is depicted as the afternoon sunset glow. And Binbeal is depicted as a rainbow, and his wife is the second bow of
the rainbow. And his son Turt, who is the stars, we call that Turt-Barram. Turt, Bunjil’s son, Ba coming from by Baiame, Emu creator spirit. And Ram, meaning life. Bunjil's brother Palian the Bat. Palian is the star Antares in the Scorpio constellation. Baiame is the Milky Way or the dark matter in the Milky Way, and his footprint is the Southern Cross. Kara-Karok is Bunjil's eldest daughter, and she is represented as Jupiter or Bundjil's fireplace. He had six strong men that helped him do jobs and create the landscape. Turnung the sugar glider is Venus. Tadjeri the brushtail possum is a star Alcina in the Eridanus consolation. Yukape is the star Alpha Crucis in the Southern Cross. Dantun is a star Beta Crucis in the Southern Cross constellation. Djurt-Djurt is the star Beta Centauri, one of the pointers in the Southern Cross. Fara is the star Alpha Centauri in the Southern Cross. Waa the Crow is Canopus. This is the story of the night sky, teaching us and connecting us to the past.
Aquaculture – Werribee River, woven nets and eel traps
Artist: Tammy Gilson
Long ago, Palian the Bat, Bundjil’s brother, was ordered by Bundjil to create the rivers, swamps, billabongs and streams with his stone axe called Karrkayn. It was a magical axe. He'd thump it down onto the ground and the river would appear. He created two women from the alluvial clay beds at Gippsland. One was created with straight hair, from river reeds, and one was created with curly hair, from the stringy bark tree. In Wadawurrung language, we call them Ba-gurrk. Women learned the art of weaving eel nets, baskets and fish traps. They used these in the river and would catch eels, we called Buniya. They became part of the diet of the Kulin people. Wirribi Yaluk, meaning spine, as the river weaves its way through Country, it's arched like a backbone, from a human.
Lollypop Creek Primary School
Ngarri Primary School
Cultivating – She Oak, Murnong and Clematis Stories
Artist: Kait James
[Prior to colonisation, in the areas west of present-day Melbourne] park-like landscapes were to be seen. A result from burning off on a regular basis from a practice called fire stick burning (or Correnderrk) that cleared the understory – the yurt, or vegetation – to expose the Murnong yam daisies. The timber from the yam stick, Kani, was usually traded from northern family groups, or Baluk, a much sought after white gum timber was desired, called Creber. They used a mastic, or glue, formed from wattle sap, possum fur, human hair, and ground up mussell shells called Korren, mixed them together and cooked it just enough to become pliable. They waited till it rained. And down the ocean along Bass Strait, a blue fossiliferous flintstone was collected. It was under floating on the bull kelp above, from Discovery Bay all the way across [Bass Strait]. So, when it was heavy seas, the bull kelp broke away from the coral underneath the ocean and it floated to the surface. And where it broke off from the coral was a blue fossiliferous stone attached to the bulk kelp. We knew this would come across every time it was nasty weather.
Now we got that blue fossiliferous stone, and we sharpen that to become like a flint or a scalpel. Now this we stuck the stone on the end of the Kani, the digging stick, into the Jarruk, so it’ll become a point for digging up Murnong daisies and such. Jarruk was a bargaining tool for the white
gum sticks from inland barracks or family groups. They use it as scalpels and creating colloidal scarring, which were body decor for announcing tribal status. The females, Ba-gurrk, of the clan would make their digging sticks this way. Murnong daisy, Microseris lanceolata, as the summer comes to an end, the Murnong (yam daisy), which is a summer staple food, was left and not eaten. It was given time to regenerate. Summer is the time of the Murnong. The winds blow and the weather turns cold. Now it’s time for another staple food to be eaten. It’s called MinamBerang, Clematis aristata. The stems were also used for basket making as they were fibrous. And the roots were edible. Winter is the time of MinamBerang.
ARM Design Director Neil Masterton discusses the role of the masterplan and why the process is just as valuable as the outcome.
You’ve been involved with the masterplanning of all sorts of schools: primary and secondary, public and independent, new and heritage campuses, as well as tertiary projects. What’s the first step in the masterplanning process?
Neil Masterton (NM): Our approach, irrespective of the type of school, involves initiating a dialogue with the client groups. We gather key players in a workshop setting, probing into the school's ethos, aspirations, and what makes it unique. This initial step is vital, as it unravels the perspectives of the institution itself, often diverging from our preconceived notions.
Stakeholder involvement at the beginning of a masterplan process is paramount. It goes beyond architectural considerations; we delve into the school's beliefs, guiding principles, and its vision for the future. This sets the tone for the entire masterplanning process.
Then we try to define a set of guiding principles for the design journey ahead. In our experience, workshops help uncover these principles.
When we worked on the Melbourne Girls Grammar Strategic Development Framework (SDF), engaging with the school community revealed insights that shaped the entire project.
‘Sustainability’, ‘beauty’, and ‘a school in a garden setting’ were among the identified guiding principles. These principles shaped the foundation of the masterplan. This process emphasises the importance of collaborating with those who use the space daily.
These principles also act as a compass throughout the project. Throughout the design process we revisit to ensure these fundamentals are upheld.
Drawing inspiration from other schools, either by desktop studies or through study tours is invaluable. Experiencing firsthand the impact of design on the learning environment fosters a deeper understanding. This applies not only to schools but all sorts of projects.
It's not just about aesthetics; it's about understanding the functionality and the value these spaces add to
“STAKEHOLDER INVOLVEMENT AT THE BEGINNING OF A MASTERPLAN PROCESS IS PARAMOUNT ... WE DELVE INTO THE SCHOOL’S BELIEFS, GUIDING PRINCIPLES, AND ITS VISION FOR THE FUTURE.”
the overall experience. We need to bridge the gap between architectural concepts, stakeholders’ perspectives and lived experiences.
What techniques do you use to communicate early concepts to client groups who may not be experienced in reading architectural drawings?
NM: It's a challenge. While we can illustrate classrooms through plans and 3D imagery, capturing the essence of social spaces is more nuanced. These spaces, like cafes and hang-out areas, contribute significantly to the overall experience. We use study tours, precedent examples, and diagrams to convey these ideas, ensuring clients grasp the envisioned atmosphere.
Diagrams play a crucial role. They help build up the understanding gradually, allowing clients to come on the journey with us. Whether it's showing the adjacency of spaces or the flow between them, diagrams provide a tangible representation that is more accessible to those not versed in architectural language.
Showing our workings throughout the process is important. From precedent examples to physical buildings, we involve clients in the journey. Bubble diagrams, illustrating how spaces
relate to each other, become a visual language that resonates with diverse stakeholders.
The masterplanning process is a collaborative effort, a kind of dance between architects and stakeholders, aiming to create educational spaces that embody the essence and aspirations of each institution. Through thoughtful dialogue, exploration, and a commitment to guiding principles, we as architects try to weave a narrative that goes beyond bricks and mortar, creating environments that inspire learning and foster a sense of identity for the institution.
Schools are often places that have developed in an ad-hoc manner, with little consideration given to how everything works as a whole. Is this a common challenge when developing a masterplan for an existing campus?
NM: Absolutely, it's about untangling the knot that they've created for themselves over time and finding opportunities. And, you know, often it's about finding opportunities that they're not aware of or they've forgotten about because they're so used to their own site and its constraints.
Early conceptual sketch for St Leonard’s Brighton campus.
That's one key reason why a masterplan is really valuable. It's also, as we've discussed before, about understanding their ethos, their values, and making sure that the physical environment aligns with that.
Finally, it's also about future-proofing, looking ahead and saying, "Okay, where is this school going in the future? What are the trends in education? What are the changes in pedagogy? How can we make sure that this physical environment is adaptable and flexible to those changes?" So, it's a strategic document that guides their physical development over time.
I think there's an opportunity for schools to really understand their site better than they had before, including what the opportunities and constraints are. With education changing, we give the school a long-term but flexible framework that they can keep coming back to and testing. Afterall, it must serve the school for the next 30 to 50 years.
Perhaps it's kind of a compass as well because when they have new ideas or new projects that come up, they can refer back to the masterplan and say, "Okay, does this align with our longterm vision? Does this align with what we set out to achieve?" And if not, then it's a chance to reassess and reconsider.
Finally, are there any contemporary pedagogical ideas that are influencing how school campuses are considered? Such as new curriculum focuses on as outdoor learning, ‘living laboratories’, connection to country, sustainability etc. If so, could you speak to some examples?
You've hit the nail on the head with key concerns like connection to Country, sustainability, and addressing the future. Equitable access for all is crucial, extending beyond physical access to involve all senses. Art's role
is acknowledged, emphasising that students have agency, and staff voices are integral. The architect becomes a conductor in this diverse symphony.
Working on school projects is appealing because the focus is on building the best environment for students and staff, not just maximising profits. Key themes like sustainability and outdoor learning need to be embedded from the beginning, not treated as add-ons later.
The ideal outcome is a school embodying its ethos and guiding principles from the foundation stone to the masterplan, ensuring the built environment reflects its educational values.
What other contemporary ideas are influencing school masterplans?
NM: It's essential to design not only for students but also for staff, creating a good working environment. Teacher retention is a key concern for schools nowadays. And also, schools are aiming for outreach, showcasing their teaching methods and community involvement. The challenge is to be a great place for both students and staff, fostering a sense of community.
Considering the low teacher retention rates in Australia, there's a growing focus on workplace quality, wellness, and creating a positive experience for staff. Equal respect for teacher and student spaces is paramount.
Emphasising the significance of interiors in schools, bespoke and joyful designs can enhance the learning experience. Immersive interiors contribute to creating inspiring spaces for both students and staff, promoting enjoyment and engagement.
Early conceptual sketch for St Leonard’s Brighton campus.
UNTYING THE KNOT AT MELBOURNE GIRLS GRAMMAR
Dr Toni E. Meath Principal, Melbourne Girls Grammar School
Melbourne Girls Grammar School (MGGS) is an independent, Anglican, day and boarding school for girls, located in the inner Melbourne suburb of South Yarra. The school has been at its current location for more than 120 years and its two campuses have become very crowded by ad-hoc development over the past decades.
ARM has been working with MGGS for the past two years on a Strategic Development Framework (SDF) for both its Merton Hall (senior) and Morris Hall (junior) campuses, located at separate sites in South Yarra. The final SDF has now been approved by the School Council, a significant milestone.
ARM's Amber Stewart caught up with MGGS Principal Dr Toni E. Meath to discuss the ideas underpinning the project.
Amber Stewart (AS): Why did Melbourne Girls Grammar need a Strategic Development Framework?
Dr Toni E. Meath (TM): I became the Principal in 2019 and, with fresh eyes, looked at the school's situation in collaboration with the School Council. While Melbourne Girls Grammar did have a masterplan, it had expired. The completion of the Artemis Centre, a significant project, had left us without a relevant masterplan, which we needed for clarity for our community's path forward. One of my initial steps was to develop a new strategic plan involving the entire community. So, 2019 was a year of review, and we subsequently developed the MGGS Strategic Plan 2020 to 2025. This plan provided a roadmap for the future, which included the growth of the school. The importance of a strategic design framework became evident; we wanted to provide clarity of vision rather than rushing into a new construction, which many in the community were eager to do. I must give credit to our Head of the Council Property Committee, Neil Appleton, who was instrumental in bringing to the Council the imperative to craft a strategic design framework for the next 20 years. The resultant framework has been instrumental in helping me communicate to the community where we're headed, our aspirations, and our evolving needs.
AS: One of the key strategies in the SDF was untying 'the knot,' a topic we've discussed at length. How significant is this strategy for MGGS?
TM: It's of utmost importance. Our School has seen rapid growth over the years, and, on the Anderson Street site, alongside our heritage buildings, newer additions were made, which seemed like good ideas at the time. When I assumed my role as Principal, I observed a somewhat cluttered campus. I believed we could use our parcel of land more efficiently to enhance the flow throughout the senior campus of the school. This, in turn, we believe will support learning, innovation, relationships, and our sense of community. ‘Untying the knot’ involves freeing up the North, South, and East-West pathways, and creating a cultural heart at the centre of the school.
As part of the Strategic Design Framework, stakeholders were posed with the question, "Where is the heart of the campus?" The diversity of viewpoints among participants was interesting. We conducted a workshop on this, and it was fascinating to observe the varied perspectives— some believed it lay here, others thought it resided there. Recognising the significance of defining the heart of the campus, we acknowledged the lack of clarity on this crucial focal point. I firmly believe that every
school requires a central core, a heart, from which all aspects of learning and engagement with community emanate.
AS: You’ve previously mentioned the challenges of implementing a 21stcentury education in a 130-year-old school with heritage buildings and overlays. Could you elaborate on this challenge?
direction. Achieving a coherent visual narrative and a unified campus atmosphere is crucial. The fluctuations experienced are influenced by the heritage of the school, leading to occasional challenges, such as dead internet zones. We've addressed safety concerns by implementing a contemporary fire emergency system in the past two years, but
“UPON MY ARRIVAL, I AFFECTIONATELY REFERRED TO THE SCHOOL AS ‘A MAD AUNT’ DUE TO THE CONSTANT CHANGES OCCURRING WITHOUT A CONSISTENT DIRECTION.”
TM: Certainly. Learning has evolved significantly since the beginning of last century. However, at Melbourne Girls Grammar, we are constrained by our heritage buildings and the associated heritage overlays. There are both physical and cultural aspects to consider from a development framework. From a physical perspective, we continually need to maintain and update existing aspects like guttering, roofing, drainage, and managing issues like dampness. These buildings hold immense historical value and are part of our identity. We love them. Thus, we need to find ways to make them work for us in a contemporary educational setting. We've made internal changes to accommodate innovative learning approaches, and we've also constructed new buildings during our school’s history.
We've successfully implemented studio designs, open learning spaces, and collaborative teaching approaches. The school has expanded its physical amenities with good intentions, yet the process has sometimes lacked strategic planning. Upon my arrival, I affectionately referred to the school as 'a mad aunt' due to the constant changes occurring without a consistent
the complexity of this process is heightened by the heritage buildings, which resulted in additional costs.
Nevertheless, it's essential to integrate these developments seamlessly within the campus while respecting the heritage elements.
In the context of contemporary learning, there's a recognition that educational spaces have evolved and at Melbourne Girls Grammar our intention is to be at the forefront of innovation and new ways of thinking.
AS: It’s still quite clear to see the original parcels of land that make up the MGGS Merton Hall campus, especially from Anderson Street. Could you share more about your vision to celebrate this?
TM: Absolutely. We have a vision for a campus that harmoniously combines both the traditional and the innovative, valuing and celebrating these contrasts. From Anderson Street, we aim to showcase a sequence of beautiful contemporary and heritage buildings, creating a welcoming and aesthetically pleasing environment. Additionally, we aim to remove cars from the site to maximise our spaces effectively, improve safety
Existing photos of Melbourne Girls Grammar Merton Hall Campus.
64
Melbourne Girls Grammar Merton Hall Campus, with the Royal Botanic Gardens visible in the distance.
and enhance the overall experience for our students and broader school community.
AS: Building upon that, you've emphasised the school's beautiful vista to the Royal Botanic Gardens. How do you plan to celebrate this unique aspect of the campus?
TM: Indeed, our school is situated within a garden setting, adjacent to the Royal Botanic Gardens. We have beautiful gardens on campus too, and these green spaces are an integral part of our identity. We've even drawn parallels between the diversity of our trees and the diversity of our students. To celebrate this unique setting, we aim to make the most of our green spaces by incorporating it into our learning environment. For instance, the Artemis Centre provides an elevated view, almost like a treehouse, from where we can view the city.
AS: Throughout the SDF process, there has been an emphasis on spaces for Old Grammarians. How do you envision the campus evolving with this in mind?
TM: Melbourne Girls Grammar is much larger than the current staff and students; our community spans generations – it is worthy of celebration. Schools are part of wide networks, and this school has been ingrained in the feminist zeitgeist of Melbourne since its inception. You can sit in the drawing room and see every portrait of a principal is female; even for girls' schools, that's rare. We're very conscious of our cultural context in the feminist history of Melbourne, and also the world. We have a very active alumnae community, locally and internationally. This school needs to celebrate that community and have spaces where we can come together and acknowledge our wonderful heritage and the people who have made that happen. It's the 130th year this year, and we've celebrated with an amazing text called Lines of Flight,
written by Professor Erica McWilliam, AM. This text situates the school in the cultural context of Melbourne and demonstrates why we need to keep being relevant in the city’s evolution.
It's an iconic school for the symbolism of what it means to be strong, confident, and powerful women and voices for others. This is not the school for passive education; it's an innovative, dynamic school. We always trial new things, and in so doing learn much from the process. It’s part of our DNA, and the actual campus needs to reflect that. That's why the SDF is so important. Interestingly, one of the things I'm most proud of about the SDF is that it took a lot of time. An easy thing would have been just to say, 'Let's knock down Ross Hall and build something else’. But we wouldn't have solved all the wicked problems. We took the time to ask the hard questions and get it right for a beautifully flowing aesthetic campus to take shape. During this process, two things happened spontaneously that significantly changed our thinking. My favourite tree fell; I loved that tree! And an old mansion came up for sale over on Punt Road. Both those events were like a gift. It changed our thinking, because they opened up the possibility of building on the corner and decanting part of the school to accommodate the growth we had experienced in our enrolments. We were fortunate to be guided by experts. With ARM, we always felt listened to, we always felt that they would come back with a solution or say, 'But we need to think about this’; they would challenge our thinking. That allowed us to move on in a creative way to find a creative and considered solution. I'm so happy with the outcome of the final SDF because it's providing a roadmap that encapsulates the vision of Melbourne Girls Grammar and our future. It is a great piece of work; it's a fabulous piece of work.
DESIGNING FOR CONTEMPORARY PEDAGOGY
WHAT’S INSIDE? 12 PRINCIPLES FOR SUCCESS
Amber Stewart
Associate Director, ARM Architecture
Hannah Kuek
Senior Architect, ARM Architecture
Provide a variety of tailored and purpose-built study zones, social spaces, and collaboration opportunities outside the traditional classroom setting to suit different learning styles and pedagogy.
We like to call these the ‘third spaces’ of schools as they are often unbudgeted and unallocated in area schedules but are essential. Locating these within the circulation spaces, directly outside the teaching areas, provides opportunities for group work, individual concentrated learning, and collegiality in the learning hub.
Locate offices within learning environments.
Pastoral care distinguishes K-12 school education from tertiary education. Placing staff offices within the learning environment and ensuring their visibility and transparency not only facilitates passive surveillance in the learning commons and circulation areas but also allows students to observe their educators at work beyond the confines of the classroom.
Contemplate the dimensions, number, and positioning of lockers from the outset.
Integrate them into the design, avoiding placement inside classrooms. Instead of creating extensive corridors or dedicated locker rooms, incorporate them by using them as dividers to facilitate movement and flow, shape breakout study spaces, or establish study benches. Remember to assess the size of school blazers and explore the possibility of incorporating power sources for device charging.
Embrace colour!
Numerous occasions I’ve entered a school that underwent a refresh or received new facilities, only to discover it transformed into a space with charcoal grey carpet tiles and white walls. While it may present a clean and uniform appearance, it lacks joy entirely. Incorporating color, pattern, and texture into the learning environment injects character and vitality. It provides distinct identities to various spaces within the school, aiding in natural wayfinding, especially during the early years of high school.
Avoid the one-size-fits-all approach and provide specialised spaces where possible.
The concept of flexibility can sometimes be misleading, resembling a paradox where it seemingly supports everything yet lacks specificity for anything. Instead, there is inherent value in designing purposeful and specialised spaces, crafted with careful consideration, and tailoring them to the distinct needs of the subjects they serve. Whether it’s a STEM lab fostering hands-on experimentation, or an art studio infused with natural light, equipment safely positioned and storage to inspire and facilitate the creative process. Steering away from a onesize-fits-all approach you can create immersive environments that go beyond supporting academic learning to inspire a genuine love for learning in students.
Consult extensively and thoroughly during the briefing process and maintain continuous engagement with the actual end users throughout the design and documentation phases.
This involves conducting interviews and site visits with the teaching staff who will eventually utilise the created spaces. Additionally, communicate and conduct workshops with the students to understand how to best support their learning needs. This approach ensures that the functional requirements are met, and frankly, ensuring there is an adequate number of taps and power outlets.
Utilise every new addition or new building as an opportunity to tackle level differences, enhance wayfinding, and promote equitable access throughout the campus.
Rather than inadvertently creating future issues, leverage these projects to ensure a seamless and inclusive environment. By addressing accessibility concerns and refining circulation with each new insertion, the campus can evolve cohesively, fostering an environment that is both user-friendly and forward-thinking.
Embed narrative and storytelling into your project.
Our educational interiors are ideas led. These narratives not only impart a distinct identity to the design but also serve as a medium to celebrate the rich tapestry of the school’s history, values, culture, and future aspirations. By incorporating elements that tell a story, the educational space becomes more than just a physical setting; it becomes a dynamic and immersive environment that resonates with the ethos of the school. This intentional integration not only engages students and staff but also contributes to a sense of belonging, fostering a connection between the physical space and the narrative that defines the educational journey.
Invest in quality designed furniture, and if possible, support Australian designed and manufactured furniture items.
Of course, you need to thoroughly assess the furniture, ensuring it is ergonomic, stackable, sturdy enough to bear weight, capable of withstanding leaning back or tilting, and easily relocatable. But also make sure it delights and speaks to the school’s unique learning experience.
Celebrate the arts throughout the school campus, ensure there are opportunity for display and exhibition of visual arts and spaces for small ensembles to perform and debates to occur.
By embedding these throughout the campus, the school not only becomes a hub of academic learning but also a thriving safe place for the celebration and cultivation of diverse talents, creativity, and perspectives.
Ensure the inclusion of spaces designed for the greater school community to gather and celebrate.
Consider where parents gather for pick up/drop off, school sports or events and create gathering spaces that encourage community. Large, open indoor facilities with flat floors not only accommodate exams or year-level house group activities but also offer versatile spaces for professional development sessions, parent information meetings, galas, award ceremonies, and various community events. Prioritise the creation of environments that promote connection and engagement across all facets of the school experience.
Incorporating students into the design process can yield truly remarkable results, creating distinct and uniquely tailored outcomes for the school.
These design solutions, whether manifesting in façade patterns, wallpaper designs, or robot tracks in STEM labs, become exclusive expressions that uniquely capture the essence of that school.
THEATRES IN SCHOOLS: A CONVERSATION WITH A THEATRE DESIGNER
Shook
Jim Hultquist is a Partner with Schuler Shook, an internationally recognised design firm specialising in theatre planning, lighting design and audio-visual design. Schuler Shook has collaborated with ARM on many theatre and performing arts projects, including the Sydney Opera House Concert Hall Renewal, St. Leonards College, HOTA Outdoor Stage and Hamer Hall.
ARM's Andrew Hayne caught up with Jim to talk about the roles that theatres play in schools today and what trends he sees emerging in the future.
Andrew Hayne (AH): In what ways do performing arts centres in schools differ from those in the public professional sphere? What features do they possess or lack in comparison to external counterparts?
Jim Hultquist (JH): Well, one notable distinction lies in the emphasis on high utilisation in schools. When a school invests in a state-of-the-art Performing Arts Centre (PAC), they are keen on maximising its use. Unlike commercial theatres that often remain closed throughout the day, a school's PAC is expected to be buzzing with activity. It's not just about performances; it's about accommodating various needs, be it meetings, classes, rehearsals, or other events. Designing the space to cater to these diverse requirements throughout the day is crucial. Activities often overlap, requiring a flexible layout. For instance, you might have a stage set up for an evening performance, but during the day, that same space might need to accommodate classes, tests, or rehearsals. So, ensuring the design facilitates this dynamic usage is key.
AH: So ultimate flexibility is fundamental?
JH: Well, flexibility also involves the ability to readily transform the space. At St Leonards (The Leonardian
Centre), for example, we incorporated a reflector that could be deployed or stowed away in about 20 minutes, along with an adjustable orchestra pit that allowed for a quick stage reset.
The orchestra pit plays a dual role here; by elevating the orchestra platform, we create space for sizeable events or lectures on the main stage. Quick and efficient removal of seats further enhances adaptability, ensuring seamless transitions for various events, even with minimal staffing.
AH: This seems like a good transition to delve further into the 600-seat venue at St Leonards, the Leonardian Centre. In brief, what kinds of performances can it accommodate?
JH: The St Leonards venue is well-suited for classical music performances and works well for drama and theatre productions. While the fly height isn't exceptionally tall, it allows for the suspension of various elements, such as banners, curtains, and scenery components. The stage itself features a blonde timber floor, which, if drama is on the agenda, may require the addition of a black cover or other scenic elements—a bit more work, but manageable. The venue's versatility shines when it comes to
Jim Hultquist Partner, Schuler
hosting meetings and conferences; it effortlessly transforms to suit diverse events. It's an attractive space, and even though it's great for music and drama, I believe it provides the capability for almost any show given the building's design.
AH: Can you provide an overview of the key features of the St Leonards theatre, especially in terms of technology and the orchestra pit?
JH: Certainly. The orchestra pit at St Leonards serves multiple functions, allowing for the creation of different levels in front of the audience. For instance, we've used it to lower a piano and surround it with students. It's a versatile space that can be adapted for seating, forestage, and accommodating a band in the orchestra pit. There are many other potential uses that can be explored. Safety is a critical consideration with the orchestra pit, given its dynamic nature. We incorporate extensive railing and automated systems to
ensure as secure environment as possible.
The AV system in the theatre is highly capable and seamlessly integrated throughout the building. It facilitates everything from projecting scenery to hosting meetings, encompassing communication systems and stage management features typical of a standard theatre.
Moreover, the rigging system is robust and efficient. While not overly flexible, it can be changed over by one or two individuals swiftly. The emphasis on simplicity is intentional; a complex and time-consuming setup can be cost-prohibitive. Our goal is to make the venue as economical as possible to operate, ideally requiring only one or two individuals for day-today management.
The Agora, St Leonards.
“INTERESTINGLY, SOME SCHOOLS, LIKE ST LEONARDS, DO ENCOURAGE STUDENTS TO DELVE INTO SET DESIGN, AV ENGINEERING, AND RELATED AREAS. WHILE THE EXTENT OF HANDS-ON EXPERIENCE MIGHT VARY, THE FACT THAT THEY ARE PROVIDING SUCH OPPORTUNITIES IS COMMENDABLE. ”
AH: You've mentioned the potential for students to operate these buildings, gaining valuable skills for future career pathways in the arts. Is this something that you observe happening in some of these school projects?
JH: Absolutely. It's a concept close to my heart, as I began my journey in high school, experimenting with various aspects of theatre. Back then, we had more freedom to explore, but times have changed. In many schools, students are involved in the crew, but their engagement is often limited to ground-level tasks, avoiding any potential risks. I understand the safety and insurance considerations behind this approach, but, personally, I see it as a missed opportunity. I gained immense knowledge by wandering through theatres in the dark during my student years.
Interestingly, some schools, like St Leonards, do encourage students to delve into set design, AV engineering, and related areas. While the extent of hands-on experience might vary, the fact that they are providing such opportunities is commendable.
The Leonardian Centre, St Leonards.
AH: When it comes to performing arts centres catering to diverse performance types, is there a risk of being a "master of none"? How do you address this, if at all?
JH: Crafting a comprehensive brief is crucial. It's common to hear schools express a desire for drama, musicals, and meetings, but probing deeper is essential. Understanding the frequency and priority of each type of event is key. Some schools may mention inclusivity as a core value, and this greatly influences our design approach. For instance, if wheelchair positions are needed, we don't just meet the minimum requirements; we explore additional ways to enhance accessibility. St Leonards, with its side paths from the cross aisle to the stage, exemplifies how thoughtful design can cater to diverse needs, such as lining up choirs on those paths.
AH: The trend towards inclusivity is across industries, but for schools, it's especially crucial, and they seem to be fully embracing it.
JH: Absolutely, it's a non-negotiable aspect. Returning to the briefing process, the more detailed the brief, the more effectively we can design a space tailored to the school's specific needs. Understanding how they plan to utilise the building allows us to create a design that aligns perfectly with their requirements. Otherwise, we risk replicating something that worked elsewhere but might not suit the unique needs and ethos of the school we are working with.
AH: Reflecting on your own high school experiences in theatre, it seems like the venues back then were quite different. You used the term "Gymnatorium," which evokes the image of a basketball court used once a year for a school play. Do you think schools are increasingly moving away from such multi-purpose spaces when they have the opportunity?
“THERE SEEMS TO BE A TREND MOVING AWAY FROM THE ‘GYMNATORIUM’, AS EDUCATORS AND STAFF RECOGNISE ITS LIMITATIONS.”
JH: It varies depending on several factors, notably the available funding and space. Even some public schools we've worked with have managed to create dedicated theatres, albeit without all the extravagant features. They might be more modest, with budgets around $10 million, but they're proper theatres. However, we do occasionally encounter briefs where the space is predominantly a basketball court or a hangout area, with performance usage as a secondary consideration. In such cases, we assume that schools have weighed their options and budgets carefully and we work with the architect to design to the brief for the best outcomes possible.
These projects can be quite challenging, particularly regarding acoustics. The large size of the space requires solutions like variable acoustics, and there's also the need to protect lighting fixtures from being hit by a football or something like that!
AH: Indeed, creating a sense of intimacy can be challenging when dealing with a large, flat-floor space.
JH: I agree, especially when everyone is essentially on a level floor. The lack of tiered seating or other design elements can make it challenging to establish that close, intimate connection with the audience.
AH: In the private sector, do you observe a sort of arms race among schools, each striving to outdo the others with impressive performing arts centres?
JH: Anecdotally, yes. There seems to be a trend moving away from the ‘gymnatorium’, as educators and staff recognise its limitations. In my time working on school theatres in Australia, spanning eight years out of the 14 I've been here, it appears that the quality and expenditure, particularly among private schools, have significantly increased. There's a heightened focus on creating high-
Interior of the Leonardian Centre, St Leonards.
quality performing arts centres to provide a superior experience for students and faculty.
AH: In the realm of education, do you have any insights into what the next evolution in performing arts centres might be?
JH: There's a notable push for advanced technology, with a growing desire for expansive LED screens reminiscent of those on shows like The Voice. Many schools express interest in projecting scenery onto walls, mirroring a trend seen in highend professional spaces, exemplified by productions like The Picture of Dorian Gray. The impactful integration of video and live performance seems to resonate with people. LED screens are becoming a sought-after feature, though their cost remains a challenge. I anticipate that prices will decrease over time.
Personally, I hope schools continue to incorporate physical elements that can be moved and flown around, fostering interaction beyond reliance on screens.
AH: That classic case of students coming out dressed as trees plays a crucial role, doesn't it?
JH: Absolutely. It's about fostering imagination, not only among the students but also in the audience. Educational theatre thrives on that suspension of disbelief, where you can simultaneously see your son or daughter and acknowledge that he or she is's portraying a tree. It's this blend of reality and imagination that makes educational theatre truly special.
AH: Otherwise, we might see everything trending towards something like The Sphere in Vegas.
JH: Exactly, and that will cost you a billion dollars!
AH: What other elements of theatres need careful consideration outside of the theatre proper?
JH: Foyers are crucial and should be almost as flexible as the theatre itself. Unfortunately, when budget constraints arise, foyers are often among the first elements to be sacrificed, with the perception that they aren't heavily used. However, these spaces can host various events, from pre-show gatherings to parent nights. Take St Leonard's, for instance, where there are two screens that drop from the ceiling in a spacious, enjoyable room with expansive views. It serves not only practical functions but also adds to the overall experience of the building. These spaces, in our view, are both worthwhile and relatively cost-effective.
What do you enjoy about working on theatres?
AH: Well, that's an interesting question, Jim. I believe it's the boundless potential inherent in these spaces. Theatres are canvases for the imaginative ideas of creative minds, things that one could never have dreamed possible. That, I think, is the beauty of working on theatres. In contrast, many other types of projects we undertake have very defined and prescribed uses. An office building is, fundamentally, an office building.
JH: For me, I appreciate that theatres are community spaces. They're not intended to be exclusive, even if tickets are sometimes required for entry. The essence is for everyone to be a part of it, to come and enjoy— regardless of age or financial means. The inclusivity of theatres is a significant aspect that contributes to their importance in communities.
BLACKTOWN EXERCISE SPORTS AND TECHNOLOGY HUB: HEALTH, EDUCATION, AND COMMUNITY
Blacktown Exercise Sports and Technology Hub (BEST).
Mark Raggatt Director, ARM Architecture
Andrew Lilleyman Director, ARM Architecture
The Blacktown Exercise Sports and Technology Hub (BEST) is a councilled flagship initiative designed to enhance public health, promote active living, and foster strategic partnerships for the benefit of the Blacktown community. Australian Catholic University (ACU) is one of the project partners and tenants, offering sports science and allied health students hands-on industry experience through specialised learning hubs equipped with the latest technology. This approach not only attracts students from both local and international backgrounds but also supports the rehabilitation and performance enhancement of athletes at various levels. ACU’s integration into the facility facilitates a unique educational environment where learning is visible and encourages the exchange of ideas.
BEST is a head-turning venue sited between city arteries Eastern Road, the M7, and T1 train line. It is designed to attract attention and to establish a new identity for an aging Blacktown International Sports Park (BISP), which has not enjoyed significant investment since the 2000 Sydney Olympic games.
ARM Architecture was engaged to develop a future masterplan for the overall precinct, provide support in preparing the business case, refine the project brief for BEST and develop designs that coordinate the vision, brief, and expected costs. We have since worked alongside council, contractors, and other allied consultants to deliver the project during a challenging time in global history occasioned by the COVID-19 Pandemic.
Blacktown City Council set an ambitious proposition for BEST, in which the project team undertook an international study tour to draw from aligned facilities both large and small, across Europe and the USA. The most important of these, the Manchester Institute of Health
& Performance (MIHP), represented a valuable benchmark in cutting edge technology, sports education and research and its application for both elite athletes and community alike. Its business model and format established what BEST could offer for its Australian context.
BEST was developed and co-designed in collaboration with key partners: Australian Catholic University, Sydney West Sports Medicine, the AFL, Blacktown City Council, WentWest, and Delaware North. Each occupies specific areas of the building and bring their own unique expertise into the venue, making BEST a truly integrated hub for education, sports science, and allied health. The facility offers access to treatment and consulting facilities equipped with the latest medical technology, benefiting students, athletes, and the broader public.
ACU students in sports science and allied health gain hands-on industry experience and an integrated approach to best care practice. The specialised learning hubs provide access to technology, attracting both local and international students seeking practical experience alongside health professionals, delivering rehabilitation and high-
performance support to local, national, and international athletes. ACU is integrated into the daily life of the facility, showcasing learning on display, the design encourages cross-pollination of ideas and practice for each of the project partners. The collaboration between education, health, research, sports medicine, and high-performance sport at BEST creates an opportunity for a dynamic interchange of ideas.
BEST’s extensive facilities encompass a 60m analysis track, biomechanics lab, 20m hydrotherapy pool, strength and conditioning gym, environmental chamber, physiology labs, sports medicine consulting suites, GP clinic, offices, café, physical literacy playground, student hub, meeting rooms, and an auditorium. The building is all electric, with a 200kW PV system, greywater flushing, stormwater harvesting, cycle infrastructure and end-of-trip facilities.
Whilst accommodating elite training, at its core BEST is a community building. Its architecture is inspired by the community it serves, drawing from First Nation’s history and the multicultural vernacular of Western Sydney. The buildings include elements from Indian temples, Turkish
80 The external ‘physical literacy’ space at BEST, designed with Architectus.
“ACU STUDENTS IN SPORTS SCIENCE AND ALLIED HEALTH GAIN HANDS-ON INDUSTRY EXPERIENCE AND AN INTEGRATED APPROACH TO BEST CARE PRACTICE.”
bathhouses and Chinese gardens influenced aspects of the design, including colour schemes, circulation patterns, and material choices. The GRC façade incorporates high-tech references to sports technology in equipment and clothing, echoing 3D-printed shoes, carbon fibre prosthetics and aerodynamic fabrics. Colour and form distinguish key spaces throughout the building – a ‘ball trajectory’ defines the main entry, the foyer and public spaces and outdoor colonnades, culminating as the 60m analysis track which exits the building, all in orange. Supporting areas hang off this pathway, adopting their own unique colour palettes and shapes. Attention to detail and use of innovative design solutions and fabrication methods was key to
ensuring the interior and architecture were seamlessly integrated.
The design process involved extensive collaboration and codesign efforts with the consultant team, stakeholders, and the Council’s internal design team. The integration of motion analysis cameras and force plates into the biomechanics and the 60m analysis running track was meticulously coordinated with the ACU team to seamlessly align functional and technical requirements.
The Blacktown Exercise Sports and Technology Hub (BEST) is a beacon of progress and community vitality, symbolising Blacktown City Council’s commitment to enhancing public health, promoting active lifestyles, and
The 60m analysis track at BEST.
fostering valuable partnerships for the betterment of the community. BEST has already begun to revitalise the Blacktown International Sports Park as a destination for the community, becoming recognised as the home for Blacktown sport. Beyond the precinct, new allied sports are drawn to the area, like the Western Sydney Wanderers’ home base. The BEST project embodies a level of design excellence and quality investment that sets new standards for infrastructure development.
Inspired by the rich cultural tapestry of Western Sydney, BEST’s design intricately weaves elements from
diverse traditions, infusing the building with vibrant colours, innovative materials, and high-tech references to sports technology. This meticulous attention to detail and collaborative spirit extends throughout the project’s development, ensuring seamless integration of functional requirements and technical innovations. As a testament to community-driven design, BEST embodies the collective vision of stakeholders, consultants, and the council, representing a dynamic interchange of ideas and a commitment to excellence in every aspect of its creation.
Blacktown Exercise Sports and Technology Hub (BEST).
THE RETURN OF THE TECH SCHOOL: PORT AUGUSTA TECHNICAL COLLEGE
Port Augusta is a regional city in South Australia, located on the northern most point of the Spencer Gulf, with a population of approximately 15,000. Known as the “Crossroads of Australia,” it connects Adelaide to the north and west of the country, making it a vital transport and service hub. Historically a seaport and railway town, the city’s economy has shifted towards renewable energy, tourism, and services for remote areas. Surrounded by the striking landscapes of the Flinders Ranges and saltbush plains, Port Augusta is also home to the Barngarla peoples, the Traditional Owners of the land.
THE PROJECT: BRIDGING EDUCATION AND INDUSTRY NEEDS
The Port Augusta Technical College (PATC) is one of five technical colleges being delivered across South Australia by the state government to strengthen the link between upper secondary education and tradebased careers. The state-of-the-art facility is designed to address key regional workforce gaps in four industry sectors: renewable energy, civil and construction, hospitality and tourism, and health and social support. By offering tailored vocational education and training (VET) programs, apprenticeships, and South Australian Certificate of Education (SACE) completion, PATC aims to equip students with practical skills for immediate entry into the workforce.
THE PROJECT: THE DESIGN
The 2,689m² facility spans two floors and integrates cutting-edge design with context-responsive architecture. The ground floor houses a commercial kitchen linked to a spacious function room, flexible workshops including a CAD suite, and a construction-based workshop with outdoor access. Level 1 features a health and social support training space, complete with a simulated aged care environment and accessible bathroom.
In addition to educational facilities, PATC includes short-term accommodation for up to 45 students, designed to support regional access. The accommodation features quadrant-style rooms with private amenities, two accessible rooms, and quarters for staff. The building’s modular curtain wall system and locally sourced steel framework address logistical challenges and promote regional manufacturing. Architecturally, the design draws inspiration from the drifting sands of the South Australian landscape and the rich industrial heritage of Port Augusta. The building is designed for the site and would not make sense anywhere else.
STAKEHOLDERS AND COLLABORATION
The delivery of PATC represents a successful collaboration between government, industry, and community stakeholders. Key contributors include the Department for Education, Port Augusta Secondary School, Port Augusta City Council, the Office for Design and Architecture SA (ODASA), and industry partner BHP. In February 2024, the South Australian government announced an employment partnership between the College and Australia’s largest public company BHP to create and deliver training programs. Early planning involved extensive precedent and benchmarking studies, ensuring spatial requirements aligned with educational and community needs.
Local registered training organisations (RTOs) and industry trainers provided critical input through iterative workshops, influencing spatial arrangements and equipment selection. The design and construction team fostered community relationships through initiatives like monthly pizza nights with the neighbouring youth centre, strengthening ties between the college and its future users.
“THE STATE-OF-THEART FACILITY IS DESIGNED TO ADDRESS KEY REGIONAL WORKFORCE GAPS IN FOUR INDUSTRY SECTORS: RENEWABLE ENERGY, CIVIL AND CONSTRUCTION, HOSPITALITY AND TOURISM, AND HEALTH AND SOCIAL SUPPORT.”
Early render of Port August Technical College.
“ARCHITECTURALLY, THE DESIGN DRAWS INSPIRATION FROM THE DRIFTING SANDS OF THE SOUTH AUSTRALIAN LANDSCAPE AND THE RICH INDUSTRIAL HERITAGE OF PORT AUGUSTA. THE BUILDING IS DESIGNED FOR THE SITE AND WOULD NOT MAKE SENSE ANYWHERE ELSE.”
Exterior render of Port Augusta Technical College.
CHALLENGES, LESSONS LEARNED, AND PROCESS
The project faced several challenges, including aligning the brief with the budget and addressing the complexities of a regional location, some 300km from Adelaide. The site’s history as a former tip required significant preparation due to its sandy soils, further adding to construction costs.
Through close collaboration with cost planners, the education department, and industry, the team optimised the design to achieve alignment without compromising functionality. Space efficiencies were achieved by reconfiguring spatial arrangements, creating flexible multi-use spaces adaptable to future industry shifts.
The iterative design process was further supported by a robust gap analysis of existing technical programs, ensuring the college met both regional workforce needs and national educational standards.
EXPECTED OUTCOMES AND COMMUNITY IMPACT
The Port Augusta Technical College is expected to open in mid-2025, delivering transformative opportunities for the region. By providing integrated pathways to careers in high-demand industries, the college will enhance employability for students across the Upper Spencer
Gulf and the northern regions of South Australia. Strong connections to local businesses and training providers ensure that students gain real-world experience through apprenticeships and traineeships, bridging the gap between education and employment.
Beyond education, the college is set to become a significant community asset. Its adaptable function spaces and industry-grade facilities are expected to attract broader community engagement, encouraging collaboration and innovation. The integration of advanced technologies, such as VR for training, ensures the facility remains at the forefront of vocational education, preparing students for dynamic career landscapes.
In February 2024, the South Australian government announced an employment partnership between the College and Australia’s largest public company BHP, to create and deliver training programs.
PATC embodies a bold vision for regional education and economic development, establishing a legacy of innovation and opportunity in Port Augusta.
Construction photographs of Port Augusta TAFE.
ARTICLE DESIGNING FOR A 21 ST CENTURY EDUCATION
Jesse Judd Director, ARM Architecture
Nestled in the heart of North Melbourne, the North Melbourne Primary School Molesworth Street Campus is a brand-new vertical school designed to educate and inspire.
This six-storey campus accommodates 525 Prep to Year 2 students in a dynamic learning space. Built on a unique, sloping infill site formerly used for social housing, the design of the campus makes the most of a difficult site. With five entrances catering to students from all directions, safety and accessibility are paramount. The welcoming main entry opens up to a sprawling outdoor play and learning area, where parents and children gather during pickups and drop-offs.
At the heart of the new building is the library. Bridging indoor and outdoor spaces, the reception and library offer sweeping views of the play area and to the auditorium—a communal space for around 200 students, complete with a dedicated music and performance room.
Moving upward, the upper levels are dedicated to teaching. The first level caters to specialised learning, including art, science, and food-tech spaces. A rooftop play area above the gym connects to a canteen, and a versatile multipurpose space provides
for wet-weather programs and outside school hours care.
The building features 21 general classrooms, each grouped in clusters of three, with shared learning hubs. These classrooms also connect to 14 breakout, reading, and sensory rooms, enhancing the teaching and learning experience.
At the top level is a kindergarten designed for 66 children, complete with its own rooftop play haven.
ARM collaborated closely with Dr Ben Cleveland of Engaging Spaces to ensure that the design met the educational requirements, which reflect and cater to the latest pedagogical approaches.
Sustainability was also a top priority for the project. The passive design strategy maximises natural light from the north while shielding from the harsh afternoon sun. Thoughtful material selection prioritises sustainability, including using recycled materials where feasible. The school is all-electric and collects rainwater and greywater for garden use, promoting water conservation.
The outdoor environment, designed in collaboration with Bush Projects, is 83% softscaping, mitigating urban
heat island effects and blending harmoniously with the neighborhood’s leafy character.
North Melbourne Primary School Molesworth Street Campus doesn’t just educate—it aims to inspire. With a vibrant palette, engaging patterns, and spaces built for exploration, it provides students and teachers with a high-performing learning environment, enhancing their educational experience.
Sarah Nightingale Founding Principal,
At North Melbourne Primary School, we guarantee extraordinary learning opportunities for our students by providing a rich curriculum and evidence-based practices of teaching.
Our teaching pedagogy and environment reflects how our students learn best and additionally reflects the world our students will move into. This is a world that is rapidly changing, connected, adapting, and evolving. The design of the new Molesworth Street campus embodies learning in the 21st Century – it enables students to connect, collaborate, and communicate with each other, while allowing time and space for independence and reflection.
To engage the students in the new build we worked with the project team and the VSBA to complete an art project, which was then shared with the community on the signage around the new campus. This promoted excitement amongst the community and showcased student voice and agency through their individual designs.
North Melbourne Primary School (Errol Street) was at capacity prior to
the new build so the new campus has met our needs in terms of providing more space for our students. The design of the Molesworth Street Campus enables our students to collaborate with each other and engage in their learning through an open-plan design. It has provided us with dedicated spaces for Physical Education and Performance which will be utilised by students from both campuses. The design of the project will enable our school to grow into the future and promote a learning design which represents 21st Century skills.
North Melbourne Primary School came on board to the project after the initial planning stages, so there wasn’t opportunity to provide information on specific requirements at the outset. However, the school was able to consult and offer advice relating to the FF&E choices, some security features and IT components. We held a number of workshops in which we collaborated with the project team, including the VSBA, ARM and SEMZ to work through elements including FF&E selection and operational requirements. This collaborative approach enabled the school to have input relating to the pedagogical intent of the build.
North Melbourne Primary School (Molesworth Street Campus)
Opposite: North Melbourne Primary School (Molesworth St Campus).
“THE MOLESWORTH STREET CAMPUS IS AN IMPRESSIVE ARCHITECTURAL DESIGN, WHICH THE STUDENTS AND FAMILIES HAVE ENTHUSIASTICALLY EMBRACED.”
Originally the Molesworth Street campus was to accommodate the entirety of North Melbourne Primary School, but there was a late-stage shift toward a two-campus model for the school, which presented some challenges. This impacted elements of the design intent, as parts of the new campus design could have been more beneficial for the older students who are now based here. We are still working through operational measures to ensure our students have the best learning experience at this campus.
Overall, the final project is an impressive statement of architectural design which will become a centrepiece of the North Melbourne community. The students at North Melbourne Primary School are now able to benefit from the juxtaposition between the learning opportunities
that the historic campus and the new 21st Century learning space enable. The new build has exceeded our expectations of providing a space where the whole school community can gather to provide cross-campus connections.
The Molesworth Street Campus is an impressive architectural design, which the students and families have enthusiastically embraced. The design has provided places for the community to gather and has situated our school as a prominent landmark in the community.
The steep level change supports play opportunities, avoiding the need for retaining walls.
ARM is an award-winning architecture, urban design, master planning, and interior design practice. Our work across Australia has been globally recognised for creating culturally significant buildings and precincts traversing both architecture and urban thought.
Our design practice is informed by a strong ethos of research, through which we immerse ourselves in the context, history, usage, or environment of a project. These learnings directly inform our design approach.
At ARM, innovation means successfully responding to a complex brief with intelligent, tailored solutions. We see our projects through to completion and beyond, because we understand that creativity and design integrity are only valid if the outcomes are solid, reliable and hardworking.
Our work spans the residential, commercial, education, cultural, heritage, public, retail, and interior design realms, with clients including Victorian School Building Authority, School Infrastructure NSW, TAFE SA, The University of Melbourne, Sydney University, RMIT University,
WHO IS
St Leonards College, Firbank Grammar, Al Siraat College and Melbourne Girls Grammar School to name a few.
With decades of industry experience in delivering education projects across our team of principals, directors, senior associates, design leads, and interior design specialists, ARM is proud to have earned a reputation as one of Australia’s leading design firms for learning environments. We thrive on the translation of pedagogy into space, and crafting learning facilities that add a new dimension of learning to established campuses. Our projects aim to capture aspirations and deliver real and positive change.
We have successfully delivered undergraduate faculty hubs, post graduate research environments, vertical schools on tight urban sites and new greenfield schools on the suburban edge. Every education project we undertake continues to prove how innovative design can improve teaching and learning, creating an essential sense of community and belonging for students, teachers and families from all walks of life.
HOWARD RAGGATT FOUNDING
DIRECTOR
hraggatt
@armarchitecture.com.au
"At ARM, we don’t have a house style. People can’t really look at our existing work and say ‘I love that building, can you make me one of those?’ We don’t work that way. Clients understand that what we make for them will be something else, that we’ll come and learn about them, that we’re going to do our best. And that we’ll push the boundaries a bit."
Howard is known around the nation for his innovation in design practice and theory. He has played a leading role in many distinctive high-profile ARM projects that have won architectural awards and shaped cityscapes. In 2016, he won the Gold Medal, the highest accolade awarded by the Australian Institute of Architects. He shares this honour with ARM Founding Directors Ian McDougall and Stephen Ashton.
JESSE JUDD DIRECTOR
jjudd
@armarchitecture.com.au
“For a project to be really great, every aspect of every process has to line up. I enjoy interpreting what the client wants and turning it into a viable project. As a project progresses, we nurture it to develop a character of its own. Experience has shown me that if a design solution is the right one it will be obvious.”
Jesse runs major projects around Australia. His specific expertise lies in environmentally sustainable design, stakeholder consultation, concept development and team management. He is also an Accredited Professional with the Green Building Council and a sustainability leader at ARM.
MARK RAGGATT DIRECTOR
mraggatt
@armarchitecture.com.au
“Architectural design is not just problem solving. Answering a brief doesn’t get you to architecture and nor does designing something astonishing in isolation. Making them dance together—that’s where the architecture is.”
Mark’s expertise in concept development, stakeholder consultation and design theory are key to his work in masterplanning and design. He is a contributing writer to many local and international journals on art and design.
ANDREW LILLEYMAN
DIRECTOR
alilleyman
@armarchitecture.com.au
“At ARM, we are always innovating where we need to, or bringing something new to our work. It’s great when we’re pushing the work beyond our clients’ expectations and, better still, beyond our own.”
Andrew is one of ARM's leading design architects. His concept design and schematic design work has been central to many of ARM’s most significant projects. He is particularly skilled in using 3D software to explore and develop ideas.
ANDREW HAYNE DIRECTOR
ahayne
@armarchitecture.com.au
“Clients can make you see what you’re doing in a new light, which is really helpful.”
Andrew has over 20 years’ architectural experience, mostly at ARM. He is an expert at delivering precinctbased residential projects around Australia, including the 2018 Commonwealth Games Village, now known as Smith Collective. More recently, Andrew was the driving force behind ARM’s renewal of the Sydney Opera House Concert Hall, which won both the Emil Sodersten Award for Interior Architecture and the Lachlan Macquarie Award for Heritage Architecture.
NEIL MASTERTON DESIGN DIRECTOR
nmasterton
@armarchitecture.com.au
“I like the idea of surprise and discovery rather than invention, of looking at history and what others have done.”
Neil is one of ARM’s most experienced and accomplished design architects. He is particularly interested in urban design, in laying out large sites and recalibrating existing ones to changing needs. His urban design work has been fundamental to many large masterplans around Australia, and to laying out smaller sites.
AMBER STEWART ASSOCIATE DIRECTOR
astewart
@armarchitecture.com.au
“What I’ve learned is that meaningful architecture isn’t about following trends or doing what’s fashionable, it’s about the story. At ARM, there’s always a strong design concept that is the key driver of all decisions, both creative and pragmatic.”
Amber is a highly skilled project architect. She knows how to build successful relationships, facilitate productive client and stakeholder engagement, and manage multidisciplinary architectural and subconsultant teams.
ANDREA WILSON PRINCIPAL awilson
@armarchitecture.com.au
“I’m very proud of the cultural connections in ARM’s work. Architecture provokes. People can walk past and choose not to see anything but if they actually stop to look and question there is a visual language there.”
Andrea is ARM’S most senior interior designer. She has over 20 years’ experience in the design and implementation of interiors for educational, civic, cultural, workplace, retail, commercial and residential projects.
RAY MARSHALL
PRINCIPAL
rmarshall
@armarchitecture.com.au
"When a client is prepared to come on a journey that potentially challenges the way most people think about architecture, that’s the most satisfying part of my job.”
Ray has been a project architect with ARM Architecture since 2003. He has significant experience in design and management across a broad range of public, community, cultural, residential and urban design projects.
Ray leads project teams and acts as the day-to-day contact between the team and the client.
JENNY WATSON PRINCIPAL jwatson
@armarchitecture.com.au
"I want to be continually learning about building so I can feed that knowledge back into what I design.”
Jenny is an accomplished design architect with a focus on public and cultural projects. Over her 15+ years at ARM Architecture she has been lucky enough to work with user groups as diverse as theatre companies, school children, elephants and firefighters, on projects ranging in size from a bike shed to an entire city waterfront.
“When I’m designing, I’m often either trying to fashion the silver bullet or cut the Gordian knot.”
Joshua’s design experience has been developed in award-winning Australian architectural design practices, working primarily on educational, public, institutional, urban design and masterplanning projects.
He works across the project lifecycle, with an emphasis on front-end and early design phases, as well as general team and project management. As the team leader on projects of various types and scales he is regularly in a client and stakeholder-facing role, as well as coordinating the work of at-times large and complex consultant teams.
“When teaching, you can tell almost immediately if a space is going to support student learning and teaching, or if it is going to add unnecessary challenges to the lesson. I am passionate about designing spaces that support teaching and learning experiences – spaces that are hardworking, highly functional, promote safety, classroom management and are inspiring.”
Hannah is a registered architect and holds a Master of Teaching from The University of Melbourne. Hannah has worked in both government and independent primary and secondary schools. Hannah brings a unique perspective to school design with her understanding of design as well as the needs of students and teachers.
