Fiona Young started the new year with an experience at the hospital emergency department. Her experience is a direct reflection of the outcomes of the New South Wales Health Elevating the Human Experience initiative which considers patient, family and caregiver experiences through a constellation of seven key enablers foregrounding principles of kindness and compassion.
I’d never been to a hospital emergency room before and based on stories from friends and family it didn’t sound pleasant. Relentlessly long wait times with many other people, in stereotypical, aging hospital spaces.
The Collective Environment (bringing together both the natural and constructed) requires diffusing siloed thinking and allowing for a circular process through time where design informs the brief and briefing informs design. To achieve this approach, we can learn a lot from Indigenous ways of thinking. In this guest blog, Marni Reti explains what it means to design with Country.
An Indigenous world view is concentric, not linear. All people and things are a part of Country, inclusive of all things that were and all things that will be – both naturally occurring and constructed by people. Therefore, what we design, what takes up space, becomes a part of the Country it occupies. This is one of the many reasons why we, in Australia, acknowledge Country at every event and encourage everyone to know which Country and whose land we stand on. It also means designers have an inherit responsibility to Country and the communities that it affects.
Andreas Markides reflects on the relevance of one of Plato’s most famous stories from 360 BC to our world today. The story of Atlantis reminds us to beware of “predictable surprises” and reinforces the need to strategically change behaviours by re-setting our moral compass and initiating small scale actions.
The myth of Atlantis is probably known by most people and the story is so captivating that some have even gone in search of it. However, very few have paid due attention to the word ‘’myth’’ which is very significant because that is exactly what Atlantis is – a myth!
Through her practice-focused PhD research, Angelica Rojas has developed an approach that recognises the ability for design processes to enable individual and collective agency, support communities through significant change and increase living systems awareness. In this guest blog on Regenerative Practice, Angelica discusses projects as an opportunity to not only develop design, but also ourselves through an ongoing commitment to reflection and learning.
The Venny adventure playground Kensington, Melbourne. The story of the relocation process of the Venny illustrates how design process can be a medium to support children wellbeing and potential . Photograph Source: Project records City of Melbourne. Photographs by Andrew Wutks.
My family have recently returned from a holiday in the Loire valley, France. We all fell in love with the beauty of the region. A majestic river surrounded by lush countryside and picture postcard villages, dotted around this magnificent landscape.
In Part 1, Nick Kapica and Nick Mouat discussed the creation of the Te Whare Pūkākā activity based staff workspace at the College of Creative Arts (CoCA) at Massey University in New Zealand. In Part 2, they share the story of the enabling of the CoCA staff workplace.
Te Whare Pūkākā, a new Activity Based Workspace for staff at the College of Creative Arts (CoCA) at Massey University in Wellington, New Zealand opened in 2015. From day one, Te Whare Pūkākā evolved and responded to user needs. The Agile Collective was proposed as an idea for a group to facilitate Te Whare Pūkākā and evolve its operation without focusing attention on a single individual. The collective would use agile project management to develop evolving working practices within the Te Whare Pūkākā community. Using ‘agile’ in both workplace and project management definitions, the Agile Collective would revisit the original keywords and workplace concept to provide users with an improved workplace experience. By forming a ‘collective’ the responsibility for this evolution aimed to not focus on an individual and thus avoid hierarchical structures.
There has been significant evolution in the design of commercial work spaces from cellular offices to hot-desking, Activity-Based Workplaces, co-working, and now, hybrid working. Academic workplaces however, have been much more resistant to change. Massey University’s College of Creative Arts (CoCA) in Wellington, New Zealand, provides a valuable exemplar in the exploration of new ways of working in the tertiary sphere. In this two-part blog, Nick Kapica and Nick Mouat share the story of the making and enabling of the CoCA staff workplace.
The central ‘forge’ meeting, eating & sharing space. Image courtesy of Nick Kapica.
When a new workspace for staff at the College of Creative Arts (CoCA) opened in 2015 it quickly gained attention within Massey University and also externally as an exciting exploration into Activity Based Working and Co-working. Te Whare Pūkākā (which loosely translated from Māori means the Hothouse) quickly helped staff discover other ways of working, improving their workplace experience, becoming more efficient, and building a healthy community. Within the first six months a number of other colleges began exploring similar principles, seeking advice from the CoCA design team and coming to use Te Whare Pūkākā to understand the experience, the possibilities and challenges it presented for the community who use it.
As we become increasingly aware of the need for regenerative design, Jim Gall discusses traditional architectural perspectives of sustainability and the need for architects to re-think design to ensure a more sustainable future.
Image courtesy of Jim Gall.
An overarching problem for now and the future is the design and making of human habitation that can sustain and be sustained by the ecosystems that support it. This makes sense as the way humans can continue to inhabit the Earth.
Southbank Centre is an organisation whose deep cultural output and audience engagement requires that they are skilled in curating experiences that embrace every dimension of time from the most ephemeral to the most enduring, within architecture, landscape and events across their entire site. Steven Smith of urban narrative discusses how low cost temporary interventions were used as part of the festival programme to test ideas before making commitments to expensive permanent alterations.
Southbank Centre is the largest integrated arts foundation in the world. Created in 1951 for the Festival of Britain, the 21-acre site on the Thames Embankment includes Royal Festival Hall, Queen Elizabeth Hall, Purcell Room, the Hayward Gallery, and the Saison Poetry Library.
The growing global B Corp movement is a testament to societal concern about meeting standards of social and environmental performance, transparency, and accountability. UK architect Stride Treglown is one of over 4,600 businesses worldwide to have signed up and Pierre Wassenaar chair of Stride Treglown reflects on the initiative the practice is taking.
Sinking House is a message of warning, and hope, to communities across the world. Placed in one of the most iconic locations in Bath, Sinking House appeared semi-submerged and at a tipping point between Pulteney Weir and Pulteney Bridge. The exhibit coincided with the close of Stride Treglown’s Climate Action Relay.
B Corporations (B Corps) are businesses that are legally required to consider the impact of their decisions on their workers, customers, community, and environment. In February 2021, Stride Treglown, a large UK architectural practice successfully achieved B Corp® certification.