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The purpose of this paper is to examine the design of state school buildings in Australia from the 1880s to the 1980s to establish common threads or similar concerns evident in their architecture at a national level.

The researcher compiled a significant data set of hundreds of state schools, derived from government, professional and other publications, archival searches and site visits. Standard analytical methods in architectural research are employed, including stylistic and morphological analysis, to read the designs for meaning and intent.

The data set was interrogated to draw out major themes in school design, the identification of which form the basis of the paper's argument. Four major themes, identifiable at a national level, are identified: school as house; school as civic; school as factory; and school as town. Each theme reflects a different chronological period, being approximately 1900-1920, 1920-1940, 1940-1960 and 1960-1980. The themes reflect the changing representation of aspiration for the school child and their engagement with wider society through the architecture of the school.

The paper considers, for the first time, the concerns of educational architecture over time in Australia on a consciously national, rather than state, level.

The purpose of this paper is to examine the professional context of the educator and architects who designed and conceived Woodleigh School in Baxter, Victoria, Australia (1974-1979) and to identify common design threads in a series of schools designed by Daryl Jackson and Evan Walker in the 1970s.

The research was derived from academic and professional publications, film footage, interviews, archival searches and site visits. Standard analytical methods in architectural research are employed, including formal, planning and morphological analysis, to read building designs for meaning and intent. Books, people and buildings were examined to piece together the design “biography” of Woodleigh School, the identification of which forms the basis of the paper's argument.

Themes of loose fit, indeterminate planning, coupled with concepts of classroom as house, and school as town, and engagement with a landscape environment are drawn together under principal Michael Norman's favoured phrase that adolescents might experience “a slice of life”, preparing them for broader engagement with a world and a community outside school. The themes reflect changing aspirations for teenage education in the 1970s, indicating a free and experimental approach to the design of the school environment.

The paper considers, for the first time, the interconnected role of educator and architect as key protagonists in envisioning connections between space and pedagogy in the 1970s alternative school.

The purpose of this paper is to canvass debates arising from encounters between architectural and educational history and to introduce a themed section of four papers exploring aspects of the history of school design and the spatial arrangements of Australian schooling across the twentieth century.

This is an interpretive introductory essay that characterizes trends in historical and sociological studies of school space and materialities, and synthesizes the arguments and contributions of the four companion papers.

A case is made for greater exchange among educational, architectural and social historians and key insights and findings from the four papers concerning school space, design and educational ideas are summarized. Themes of community, citizenship and progressive education are highlighted.

The value of the paper lies in introducing the context and scholarly debates framing a collection of four papers that seek to open up new avenues for investigating the history of modern schooling through studying intersections between school space and design and educational purposes and aspiration.

This chapter examines the limitations of the Western world view in Australia and its influence on the built environment. The dominant narrative of colonialism has disregarded alternative ways of being in the world, resulting in a lack of inclusivity for First Nations peoples. To address this issue, there is potential in embracing an alternative world view through design thinking and co-design to develop more culturally and environmentally suitable places through holistic ways of understanding the world to influence future design strategies for knowledge dissemination. This chapter’s contribution is in promoting an alternative perspective that can challenge the dominant world view and create more inclusive and culturally sensitive spaces that reflect the diversity of the community. This is particularly relevant in the current political climate, where there is a growing advocacy for change and a motivation to look to other cultural perspectives, such as those of First Nations peoples. It calls for a paradigm shift in how we think about and synthesise architecture in Australia. This chapter advocates for the acceptance and engagement with First Nations peoples’ world views, particularly in the fields of architecture, design and places that focus on cultural records.

Many heritage-listed gaols in Australia have become obsolete in terms of their original function and were decommissioned decades ago. As a default management practice, decommissioned gaols are usually transformed into museums which are mostly empty and underused without considering other viable alternatives. This research challenges this mainstream thinking and demonstrates that among the entire stock of heritage-listed gaols in Australia, even the least ranked gaol in terms of its potential for reuse can be turned into a thriving and vibrant new function.

Hypothetically, if the least ranked Australian heritage-listed gaol in terms of its potential for reuse is in fact “reusable”, then the remaining heritage gaols have more chance of being successfully reused to accommodate a vibrant new function. To be able to test this hypothesis, first, the Adaptive Reuse Potential (ARP) model is applied to rank Australia's decommissioned heritage gaols which are spatially and structurally sound to accommodate new uses. Second, an architectural design concept was designed to adaptively reuse the lowest scored gaol (Richmond Gaol) to a boutique hotel. The conceptual design proposal was then assessed by three local heritage architecture firms to validate its applicability and viability.

The research showed that Richmond Gaol can be reused successfully to at least one function, and accordingly, the whole stock of heritage gaols can be expected to also be reused to more sustainable purposes. The research identifies several considerations for the reuse of heritage gaols in Australia: the careful intervention to their significant fabric; maintaining sufficient evidence of the gaol's original components, the importance of the new use being compatible to the gaol's morphology to ensure minimum alterations or demolitions in the significant fabric of the site; and evaluating the new use and its components to achieve financial viability.

Due to the continuing closure of Tasmania's state borders amid the spread of the COVID-19 virus, the researchers were not able to travel to Tasmania to conduct a site visit and to run the in-depth interviews with the architects in person. Most of the data of the current status of the site, its current layout, museum elements, historical data and photos were provided by Heritage Authorities in Tasmania and the Tasmanian State Library and Archive Service. Supplementary information and photos were acquired in March 2020 from visitors of the gaol who uploaded their trip images to Google maps or to their travel blogs. Topographical data of the site was gathered from Topographic Base-map of Land Information System Richmond Tasmania (2020). Due to travel restrictions, in-depth interviews with the local architects were done virtually, or over the phone in one case.

Challenges discussed in this research encourage creating nationally designed support programs to better vitalise and help preserve Australia's carceral heritage.

This research utilises architectural design in an empirical research paradigm.

This guide attempts to identify those items that should form the foundation of any collection of reference tools on architectural history and upon which more specialized collections can be built. The core collection suggested here is for a college or university library offering courses in architectural history at the upper undergraduate level and above, but the annotations should enable those developing the collections of other types of libraries to select appropriate items.

This chapter explores creative drawing mediums in research practice and education, through speculative drawing methods, and the use of temporal mediums such as film, animation, and augmented reality [AR] to move outside entrenched perspectives of communicating towards more inclusive storytelling narratives. Architectural representation mediums provide means of conveying rich layers of information, having evolved through cultural influences and technologies with their origins in Western world views. However, these methods of drawing are limited in how they convey multiple and diverse views or social understandings, ultimately delivering static representations. The student and staff approaches discussed in this chapter demonstrate approaches that recalibrate from a singular, designer-led perspective to one that is multivalent, considering and engaging other stakeholders in the negotiations and conversations of the spaces in our built environments. Through making architectural communication more accessible and inclusive of diverse audiences and voices, alternative world views can be both enabled and facilitated.

Embedded in built environment discourse, this chapter examines the traditional knowledge and resilience of the Ngadjuri Nation Peoples through an Elder’s narrative of reconciliation as well as resistance in their subsisting colonial settlement. Removed from ‘Country’ in the 1840s, Ngadjuri Aboriginal community endured colonial industries of open-cut copper mining and large-scale pastoralism as irreparable destruction to their cultural landscapes. European processes in the resources sectors reshaped natural topographies, deconstructing Ngadjuri Songlines and Ancestral Dreaming stories. Burra’s colonial stone buildings of settlement, painstakingly cut and composed from materials of the surrounding ecological terrain, prompted new narratives from Ngadjuri as a way of alleviating scars. Broadly speaking, this chapter aims to show how cultural heritage of two communities is provocatively and conceptually unpacked through the vernacular buildings’ cross-cultural foundations. That is, an under-reported narrative was unwittingly bestowed on the colonial-built forms with hidden meanings that deserve further investigation. This chapter offers a counternarrative to colonial histories revealing Ngadjuri’s methods for reconnecting to Country and culture after generations of disempowerment. It explores how within the materiality of colonial structures, the Ngadjuri entwined their remediated storylines – revealing a data curation that had avoided popular discourse in the galleries, libraries, archives, and museums [GLAM] sector representation. This example implies there are bodies of knowledge in built cultural heritage hidden elsewhere on our Aboriginal Nations and the challenges it presents GLAM in their Indigenisation processes.