Winnicott states: “The place where cultural experience is located is in the potential space between the individual and the environment (originally the object). The same can be said of playing. Cultural experience begins with creative living first manifested as play.” (1971)
We take inspiration from the learning processes of artists and designers and in an extended understanding of the classical notion of “bildung”, where an individual’s spiritual and cultural skills are in a process of continual expansion and growth, we can become engaged in new kinds of situated learning and reflective practicum where in Schon’s words: “It is as though the studio master had said to him, ‘I can tell you that there is something you need to know, and with my help you may be able to learn it. But I cannot tell you what it is in a way you can now understand. I can only arrange for you to have the right sorts of experiences for yourself. You must be willing, therefore, to have these experiences. Then you will be able to make an informed choice about whether you wish to continue. If you are unwilling to step into this new experience without knowing ahead of time what it will be like, I cannot help you. You must trust me.’” (1987)
Biesta suggests that the focus on the how rather than the what allows us to: “look at learning from a slightly different angle, and see it as a ‘response’ to a ‘question’. Rather than seeing learning as the attempt to acquire, to master, to internalise, and what other possessive metaphors we can think of, we can also see learning as a reaction to a disturbance, as an attempt to reorganise or reintegrate as a result of disintegration. We can look at learning as responding to what is other or different, to what challenges, irritates and disturbs us, rather than as the acquisition of something that we want to possess.” (Biesta, 2005)
Technology is ever evolving, stretching and transforming our interaction with each other and the spaces we are in. As such a new technology may simply require a presence within the building, so that it may be taught and explored, but it may equally require spaces that allow different social interaction in the same way that for example, a screen requires darkness. At the same time, we keep buildings for a long time, while whatever is the current state of the art of a technology may emerge and pass in much shorter time spans. So we must equip ourselves to be flexible: Instead of arranging spaces to the demands of a specific technology, we will develop a series of strategies to allow our spaces to change. In that spirit we aim to address the existing buildings of secondary education, whether they are already technologically obsolete or new and future obsolete.