Tony Ward | Independent Critical Educator (original) (raw)
Papers by Tony Ward
In 1991 I was approached by the Principal of Birkdale Primary School in Auckland to help create a... more In 1991 I was approached by the Principal of Birkdale Primary School in Auckland to help create a play environment for the school's 212 students. The school environment was a barren wasteland, and over the next 13 weeks, 2y 2nd year architecture students worked intensively with the children and teaching staff to design and construct an exciting adventure playground. This is their story.
In general, the Community Design Studio, operated out of the University of Auckland School of Arc... more In general, the Community Design Studio, operated out of the University of Auckland School of Architecture between 1983 and 2001, and engaged exclusively in LIVE projects, many but not all of which were in the Maori community. It was created to offer free design services to low income and marginalised groups who could not otherwise afford professional design fees. Over the 18 years of its existence, the Community Design Studio completed more than 40 projects, all of a very high standards, and many of them bringing about major changes in the environment and in the community. Projects were conducted in the context of a cooperative learning environment in which students worked collectively on one design proposal. Decisions were made by consensus. Students were evaluated upon a range of issues involved in a group process as well as on the merits of their final design proposals. Evaluations were also developed through consensus. Client feedback formed an important element in this evaluation process. Projects from the Community Design Studio (University of Auckland) The Design of a Youth Support Facility for the Kerr Taylor Trust: (1984) Fifteen Third year students developed design proposals for a Youth Village on land owned by the Anglican Church and administered by the Kerr Taylor Trust. The eventual outcome of the project was the building of a facility for Youth at Risk under the auspices of the Rev, Felix Donnelly. The Alternative Aotea Centre Project: (1985) Perhaps the most widely publicised project carried out in the subschool was the Alternative Aotea Centre for the Performing Arts. This comprised a 3 week, 50 person consensus design process for a Performing Art Centre for Auckland. The project was televised by Television New Zealand, exhibited in Auckland, and widely reported and discussed in magazines and newspapers. The project has been published in two international design magazines, and has been included as a chapter in a book on design participation.(see exhibitions). The Highbury Study: (1985) The Birkenhead Business Association commissioned the Community Design Studio to do a major Urban Design Study for Birkenhead City. (pop.40,000) Students produced a Pattern Language for the Town, and the studio design proposals were later partially integrated into the Birkenhead City Council's District Scheme. The Viaduct Basin Study: (1986) An environmental study of Auckland's waterfront commissioned by the Auckland Civic Trust; the intention being the development of Design Guidelines to be presented to a public seminar at Auckland's Custom House May 1Oth 1986 opened by the Minister of the Environment, the Hon. Phil Goff. The Guidelines later formed the bulk of the Auckland Civic Trust's own landmark report The Viaduct Basin. The Karangahape Road Project: (1986) A development proposal, coupled with an $80M bid through one of Auckland's foremost development companies for development rights to a 5 acre block of Council-owned land. The proposal included residential, commercial and recreational facilities on multiple levels. The proposal was short-listed by the City Council with two others (out of 21 applications), but failed
The changing demands on housing patterns occasioned by a collapsing climate. This paper undertake... more The changing demands on housing patterns occasioned by a collapsing climate. This paper undertakes an economic and resource analysis of current and future housing trends in the context of a changing climate. It references projects in Cuba, in middle America, and for a Māori community in Aotearoa-New Zealand.
A Case Study of a collaborative community design project for the small Bay of Plenty town of Whak... more A Case Study of a collaborative community design project for the small Bay of Plenty town of Whakatane. At the time of the study (1987), the town was riven with cultural and racial conflict between the Māori and white communities. The Community Design Studio facilitated a series of meetinga and community planning sessions to unravel the cultutal conflicts - stemming largely from the historicaldespoiling of sacred Māori sites (Wahi Tapu). A new development plan was conceived reinstating the sites and offering a truthful accounting of the twon's historical development. Whahatane is now one of the most progressive bicultural settlements in New Zealand.
A major student project carried out by the Community Design Studio at the University of Auckland ... more A major student project carried out by the Community Design Studio at the University of Auckland in 1992. Recorded in 2007. The project was instrumental in transforming City Council policies on the development of the waterfront area and in the subsequent development of the waterfront as a vibrant residential environment hosting the Americas Cup. The project was awarded a citation by the Architects, Designers, Planners for Responsible Design (ADPSR) i n1995.
The eradication of the Guilds and the academicisation of the design professions.
No part of this document may be published or reproduced without the written permission of the aut... more No part of this document may be published or reproduced without the written permission of the author THE EMERGENCE OF DESIGN AS IDEOLOGY The Cultural Transformation of Europe in the Mid-Sixteenth Century The mandate of the Academies was not only the need for increased communication between practitioners, nor even the need to expand the range of skill and experience of the design community (ie. their education), nor even the creation of a patron class. Coupled with these factors was the new imperative to uniformalise the repressive dictates of the major client, the Church, and to establish codes of design conduct consistent with the need to maintain the flow of commissions. The academies were repressive then as I believe they still are now. While the money was flowing, however slowly, individual designers really had no choice but to remain and to accept the limitations. But eventually the bubble burst, and a great many deserted Rome to work elsewhere. It was in this context, that architecture and architectural education took the last crucial step in the framing of the future profession-the step into ideology, in which design became a tool in the power interests of the Church and of the corrupt Papacy. All of these factors were of great significance to the migration of designers and the parallel academicisation of design theory in roughly the first quarter of the sixteenth century, as the Church attempted to contain dissent and to quiet the increasingly insistent demands for reform. They were overtaken however, by the calamitous events which were about to take place, and for which the posting of Luther's theses in 1517 were the herald, but not the only critical factor. The Reformation was indeed a major factor in the transformation of Europe, but alone could not have accounted for the upheavals which occurred. Several other factors combined with the Reformation to lead to the complete transformation of European cultural life in the mid sixteenth century. The first was the massive inflation caused by the dramatic increase in gold and silver reserves occasioned by the discovery of America. This was accompanied by the rising power of the Spanish Monarchy, and the ascension of the Spanish Burgundian Monarch to the Holy Roman Imperium. This caused a destabilisation of the political balance of Europe parallel to the economic imbalance. Finally, there was a substantial advancement in technology-particularly, which these factors combined to radically transform the lives of designers and the organisation of the whole design community. The Reformation Even before Martin Luther's reforming theses were pinned to the church door in Wittenburg, a long tradition of pressure for Church reform had existed within the 15
The Distinction Between Theory and Practice Not until the Sixteenth Century did the artistic proc... more The Distinction Between Theory and Practice Not until the Sixteenth Century did the artistic process finally assume a more individuated form, where one person completed the work from start to finish and gave to that work the mark of his personal identity. It is with the work of Leonardo and Michelangelo that this transformation began to take effect, and this moment marked the beginning of the end of the dependence of the artist upon the Guilds. Initially, there was relatively little distinction between the amounts paid to known artists or to 'ordinary' artisans, but this gradually changed, as the artists were paid more and as the nature of their contracts themselves altered. 1 Significantly, the artist became increasingly free to choose the subject matter of his work, as the works themselves became detached from contextual constraints. Where, under the earlier system of patronage, the painting or sculpture was designed to satisfy specific social needs in a specific location, under the altered conditions of the free-art market, this requirement began to diminish and the choice of subject matter was itself included as a creative element of recognisable artistic genius. 2 This meant that the range of potential commissions broadened and the designer was not as dependent upon individual patron-clients as previously. In the arts, the content of the work became a matter of individual preference, and while in building design this was less possible due to the economic scale of production, nevertheless, the ethos of the individual designer which was emerging from the artistic paradigm flowed also into architectural production. It was the linkage between the arts which allowed for the emergence of a theoretical paradigm separate and distinct from the forms of production in any one art, but common to all. Disegno was this linkage, and as a social category, it allowed for the development of a body of autonomous theorising detached from the content of the work. Conceptualisation and Inspiration in Design Nikolaus Pevsner suggests that it was probably Cosimo Medici who first "recognised" the genius of a painter by calling him "divine", and it is perhaps no accident that this label became permanently affixed to the name of Michelangelo, who himself was convinced of its accuracy. It is recalled that when he was slighted by the Pope's servants, he left Rome, leaving a message that the Pope could look for him elsewhere if he wanted him. We have come a long way from Brunelleschi and his
Reflections on the Exhibition on Socially Responsible Design New York & Chicago 1993
Architectural Design, 1978
Reflections on architecture by non-architects, and the intiomate relayionship between theory, pra... more Reflections on architecture by non-architects, and the intiomate relayionship between theory, practice and personal growth.
The role of the Hidden Curriculum in the Design Studio.
The Arts and Crafts Movement seen from a crisical perspective of ritain's first Marxist, William ... more The Arts and Crafts Movement seen from a crisical perspective of ritain's first Marxist, William Morris.
Personal reflections on conducting research into institutionalised mental health.
Personal Reflections on conducting research into British prison recidivism
A Critical Reflection on prison environments, following my research into the British prison system
In 1991 I was approached by the Principal of Birkdale Primary School in Auckland to help create a... more In 1991 I was approached by the Principal of Birkdale Primary School in Auckland to help create a play environment for the school's 212 students. The school environment was a barren wasteland, and over the next 13 weeks, 2y 2nd year architecture students worked intensively with the children and teaching staff to design and construct an exciting adventure playground. This is their story.
In general, the Community Design Studio, operated out of the University of Auckland School of Arc... more In general, the Community Design Studio, operated out of the University of Auckland School of Architecture between 1983 and 2001, and engaged exclusively in LIVE projects, many but not all of which were in the Maori community. It was created to offer free design services to low income and marginalised groups who could not otherwise afford professional design fees. Over the 18 years of its existence, the Community Design Studio completed more than 40 projects, all of a very high standards, and many of them bringing about major changes in the environment and in the community. Projects were conducted in the context of a cooperative learning environment in which students worked collectively on one design proposal. Decisions were made by consensus. Students were evaluated upon a range of issues involved in a group process as well as on the merits of their final design proposals. Evaluations were also developed through consensus. Client feedback formed an important element in this evaluation process. Projects from the Community Design Studio (University of Auckland) The Design of a Youth Support Facility for the Kerr Taylor Trust: (1984) Fifteen Third year students developed design proposals for a Youth Village on land owned by the Anglican Church and administered by the Kerr Taylor Trust. The eventual outcome of the project was the building of a facility for Youth at Risk under the auspices of the Rev, Felix Donnelly. The Alternative Aotea Centre Project: (1985) Perhaps the most widely publicised project carried out in the subschool was the Alternative Aotea Centre for the Performing Arts. This comprised a 3 week, 50 person consensus design process for a Performing Art Centre for Auckland. The project was televised by Television New Zealand, exhibited in Auckland, and widely reported and discussed in magazines and newspapers. The project has been published in two international design magazines, and has been included as a chapter in a book on design participation.(see exhibitions). The Highbury Study: (1985) The Birkenhead Business Association commissioned the Community Design Studio to do a major Urban Design Study for Birkenhead City. (pop.40,000) Students produced a Pattern Language for the Town, and the studio design proposals were later partially integrated into the Birkenhead City Council's District Scheme. The Viaduct Basin Study: (1986) An environmental study of Auckland's waterfront commissioned by the Auckland Civic Trust; the intention being the development of Design Guidelines to be presented to a public seminar at Auckland's Custom House May 1Oth 1986 opened by the Minister of the Environment, the Hon. Phil Goff. The Guidelines later formed the bulk of the Auckland Civic Trust's own landmark report The Viaduct Basin. The Karangahape Road Project: (1986) A development proposal, coupled with an $80M bid through one of Auckland's foremost development companies for development rights to a 5 acre block of Council-owned land. The proposal included residential, commercial and recreational facilities on multiple levels. The proposal was short-listed by the City Council with two others (out of 21 applications), but failed
The changing demands on housing patterns occasioned by a collapsing climate. This paper undertake... more The changing demands on housing patterns occasioned by a collapsing climate. This paper undertakes an economic and resource analysis of current and future housing trends in the context of a changing climate. It references projects in Cuba, in middle America, and for a Māori community in Aotearoa-New Zealand.
A Case Study of a collaborative community design project for the small Bay of Plenty town of Whak... more A Case Study of a collaborative community design project for the small Bay of Plenty town of Whakatane. At the time of the study (1987), the town was riven with cultural and racial conflict between the Māori and white communities. The Community Design Studio facilitated a series of meetinga and community planning sessions to unravel the cultutal conflicts - stemming largely from the historicaldespoiling of sacred Māori sites (Wahi Tapu). A new development plan was conceived reinstating the sites and offering a truthful accounting of the twon's historical development. Whahatane is now one of the most progressive bicultural settlements in New Zealand.
A major student project carried out by the Community Design Studio at the University of Auckland ... more A major student project carried out by the Community Design Studio at the University of Auckland in 1992. Recorded in 2007. The project was instrumental in transforming City Council policies on the development of the waterfront area and in the subsequent development of the waterfront as a vibrant residential environment hosting the Americas Cup. The project was awarded a citation by the Architects, Designers, Planners for Responsible Design (ADPSR) i n1995.
The eradication of the Guilds and the academicisation of the design professions.
No part of this document may be published or reproduced without the written permission of the aut... more No part of this document may be published or reproduced without the written permission of the author THE EMERGENCE OF DESIGN AS IDEOLOGY The Cultural Transformation of Europe in the Mid-Sixteenth Century The mandate of the Academies was not only the need for increased communication between practitioners, nor even the need to expand the range of skill and experience of the design community (ie. their education), nor even the creation of a patron class. Coupled with these factors was the new imperative to uniformalise the repressive dictates of the major client, the Church, and to establish codes of design conduct consistent with the need to maintain the flow of commissions. The academies were repressive then as I believe they still are now. While the money was flowing, however slowly, individual designers really had no choice but to remain and to accept the limitations. But eventually the bubble burst, and a great many deserted Rome to work elsewhere. It was in this context, that architecture and architectural education took the last crucial step in the framing of the future profession-the step into ideology, in which design became a tool in the power interests of the Church and of the corrupt Papacy. All of these factors were of great significance to the migration of designers and the parallel academicisation of design theory in roughly the first quarter of the sixteenth century, as the Church attempted to contain dissent and to quiet the increasingly insistent demands for reform. They were overtaken however, by the calamitous events which were about to take place, and for which the posting of Luther's theses in 1517 were the herald, but not the only critical factor. The Reformation was indeed a major factor in the transformation of Europe, but alone could not have accounted for the upheavals which occurred. Several other factors combined with the Reformation to lead to the complete transformation of European cultural life in the mid sixteenth century. The first was the massive inflation caused by the dramatic increase in gold and silver reserves occasioned by the discovery of America. This was accompanied by the rising power of the Spanish Monarchy, and the ascension of the Spanish Burgundian Monarch to the Holy Roman Imperium. This caused a destabilisation of the political balance of Europe parallel to the economic imbalance. Finally, there was a substantial advancement in technology-particularly, which these factors combined to radically transform the lives of designers and the organisation of the whole design community. The Reformation Even before Martin Luther's reforming theses were pinned to the church door in Wittenburg, a long tradition of pressure for Church reform had existed within the 15
The Distinction Between Theory and Practice Not until the Sixteenth Century did the artistic proc... more The Distinction Between Theory and Practice Not until the Sixteenth Century did the artistic process finally assume a more individuated form, where one person completed the work from start to finish and gave to that work the mark of his personal identity. It is with the work of Leonardo and Michelangelo that this transformation began to take effect, and this moment marked the beginning of the end of the dependence of the artist upon the Guilds. Initially, there was relatively little distinction between the amounts paid to known artists or to 'ordinary' artisans, but this gradually changed, as the artists were paid more and as the nature of their contracts themselves altered. 1 Significantly, the artist became increasingly free to choose the subject matter of his work, as the works themselves became detached from contextual constraints. Where, under the earlier system of patronage, the painting or sculpture was designed to satisfy specific social needs in a specific location, under the altered conditions of the free-art market, this requirement began to diminish and the choice of subject matter was itself included as a creative element of recognisable artistic genius. 2 This meant that the range of potential commissions broadened and the designer was not as dependent upon individual patron-clients as previously. In the arts, the content of the work became a matter of individual preference, and while in building design this was less possible due to the economic scale of production, nevertheless, the ethos of the individual designer which was emerging from the artistic paradigm flowed also into architectural production. It was the linkage between the arts which allowed for the emergence of a theoretical paradigm separate and distinct from the forms of production in any one art, but common to all. Disegno was this linkage, and as a social category, it allowed for the development of a body of autonomous theorising detached from the content of the work. Conceptualisation and Inspiration in Design Nikolaus Pevsner suggests that it was probably Cosimo Medici who first "recognised" the genius of a painter by calling him "divine", and it is perhaps no accident that this label became permanently affixed to the name of Michelangelo, who himself was convinced of its accuracy. It is recalled that when he was slighted by the Pope's servants, he left Rome, leaving a message that the Pope could look for him elsewhere if he wanted him. We have come a long way from Brunelleschi and his
Reflections on the Exhibition on Socially Responsible Design New York & Chicago 1993
Architectural Design, 1978
Reflections on architecture by non-architects, and the intiomate relayionship between theory, pra... more Reflections on architecture by non-architects, and the intiomate relayionship between theory, practice and personal growth.
The role of the Hidden Curriculum in the Design Studio.
The Arts and Crafts Movement seen from a crisical perspective of ritain's first Marxist, William ... more The Arts and Crafts Movement seen from a crisical perspective of ritain's first Marxist, William Morris.
Personal reflections on conducting research into institutionalised mental health.
Personal Reflections on conducting research into British prison recidivism
A Critical Reflection on prison environments, following my research into the British prison system
Throughout my professional life I have struggled to reconcile the rational and spiritual sides of... more Throughout my professional life I have struggled to reconcile the rational and spiritual sides of my being and the older I have gotten the more I have struggled. I grew up immersed in a highly spiritual environment-albeit a very specific and Christian one. My mother was a staunch Catholic.
A case study of a collaborative design and build studio project in architectural education.
Case study of a collaborative building design process.
The colonisation and intended destruction of the Iroquois Federation by the Jesuit missionaries.
Analysis of thr ongoing predictions of the Club or Rome and their implications for an education t... more Analysis of thr ongoing predictions of the Club or Rome and their implications for an education that deals with global crises
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An investigation to systemic racism in New Zealand education.
An account of my involvement in the trial of George Jackson, Soledad Brother and his murder in Sa... more An account of my involvement in the trial of George Jackson, Soledad Brother and his murder in San Quentin Priison.
Reconstructing Architecture: Critical Discourses and Social Practices
Teaching document, 2007
The use of the hidden curriculum in maintaining a quiescent population.
Seminar at Te Whare Wananga o Awanuiarangi.
The role of the state in the ongoing colonisation of Maori, and the part played by education.