Place: Inside

In his last term after 17 years as Headmaster of Bedales, Keith Budge is writing a series of six reflections on the school. The theme of this second blog is ‘Place: Inside’.

A big part of my Bedales education has been with design and architecture. In previous schools building  was all about utility – the most for the least, with aesthetics considered a frippery – whereas here it was to be different.  Why? The Arts & Crafts movement has beauty and utility at its core; and John Badley’s educational philosophy emphasises the importance of environment  –  the benign effect of  good surroundings on young people. The one school aim I inherited in 2001 was “the appreciation of the beautiful”. I have had the great good fortune to preside over two large and influential building projects – the Orchard Building and Art & Design.

Let’s do some stock-taking of what we had in 2001. Over 60% of teaching was done in the three Greville Rhodes “temporary” flat-roofed, conspicuously (for the time) modern blocks – North, South and Art (1968). These had been built – with great controversy – as the school expanded from 240 to 340. The classrooms in North and South block were small – a push to house 22 – with wafer thin walls: noisy, hot in summer and cold in winter. As teaching spaces they were poor, making it against the grain for teachers to depart from a traditional “chalk and talk” approach.

I did three useful things with the Orchard Building (2006): I suggested to the then Chair of Governors, Michael Blakstad, that we must have an architect on the Board and I wrote the brief for the building and worked closely with the architects to ensure that the ethos suffused the building.  We chose the architects, Walters & Cohen, because of their track record and their way of working, not because they had experience of building for schools – they had none.  Their approach was to come and spend time at the school – to understand the community and the pulse of the school day.  Whereas the Greville Rhodes buildings, in common with much of the icon-ruffling architecture of the 1960s, took no notice of our great signature buildings – the Lupton Hall (1912) and the Library (1919) – the Orchard Building, with the same pitch of roof reflects Arts & Crafts principles: truth to materials in particular, with its bold use of wood and concrete. Cindy Walters also led a master planning exercise which was decisive in creating the geometry at the estate’s centre: the first axis running from the red path in the car park (2005) to where Badley’s chair sits in the Quad, with the bisecting axis having the Theatre (1997) and Steephurst at its west and east ends.

DJI_0025

When the Orchard Building opened in September 2006, the school became calmer.  It worked.

Much happened in the 10 years between this and the building of Art & Design (2016): the refurbishment of Steephurst (£0.5 million x 3 summer holidays); the exterior of 6.2 and interior of Boys’ Flat; the re-modelling of Dunhurst’s interior; the three new staff houses (2012) near Outdoor Work, and, on a  smaller scale but poignantly powerful for so many of us, the Sam Banks Pavilion (2013), the work of the OB twin brothers, the Russells, who had learnt much of their craft with the re-assembling of the 18th century Sotherington Barn in the 1980s.

The recent transformation of the area between the gates and Steephurst, with the new Art & Design building at its centre was Matthew Rice’s idea. He had the vision to see that it made no sense to follow the original Walters & Cohen idea of re-building on the existing site (of Art & Design) but that constructing it where the makeshift Facilities’ buildings were offered a triple benefit: a more prominent setting for one of the school’s great fortes; a brown field site with consequent cost savings; an enhancement to the school’s entrance; and the desirability of putting departments with complementary activities – Art, Design and Outdoor Work – together.

Codicil to all this is delight at seeing the beautiful recent restoration of the Lupton Hall, recounted precisely and tenderly in this article from the Old Bedalian Newsletter (click here and scroll to page 20) by Anna Keay, the governor who  succeeded Matthew Rice as Chairs of Buildings’ sub-committee.

My advice then about schools and building:  remember that nothing can happen until your finances are in good fettle; get plenty of architectural and property expertise onto the governing board;  put the school’s ethos at the centre of your buildings’ design; consult widely before you build; make your teachers who will use the building central to that consultation; and remember that great design doesn’t cost much more than indifferent design.

By Keith Budge, Headmaster, Bedales Schools

Place: Outside

In his last term after 17 years as Headmaster of Bedales, Keith Budge is writing a series of six reflections on the school. The theme of this first blog is ‘Place: Outside’.

ODW0011 pre-1908 (2611)

It’s easy to become inured to the beauty of this place. “I’d forgotten it was so beautiful,” were the first words I heard from a returning head boy as he stood outside the old Reception several years after he had left, soaking it all up as he gazed at the place whose beauty he had grown up in and taken for granted.

Steep wasn’t John Badley’s initial choice of place. He took a 21 years’ lease on the 30 acres of the Old Bedales at Lindfield near Hayward’s Heath where the school first started in January 1893. He had hoped to extend the building, but the development of that site proved difficult. So he looked for a larger space where he could build afresh and bought the 100 acres of Church (or Steephurst) Farm here at Steep, to which the seven girls and 70 boys moved in September 1900.

Steephurst, an unprepossessing brick building then, was the farm house; there were some barns – the one beside Steephurst that is now the drama studio and the Black Barn – but otherwise Badley had to build. So, the move to Steep gave the opportunity for the school’s early folklore to develop. The E.F. Warren Main School building with the Quad at its centre was unfinished when that valiant band of 77 students moved here in 1900. The Quad, open to the elements, was bare earth and snow drifted into the rooms that surrounded it in the first harsh winter.

Badley’s belief in the influence of the environment and the importance of his students having space to roam went hand in hand with the virtues of manual work. Read ‘School Talks in Peace and War’ and you will see that for example in July 1914 in his Jaw ‘What the School Stands For’ he is explicit on this matter: “health, freedom, comradeship”.  At this same period he talks about the importance of manual work, which is important for four reasons: it is healthy, real, necessary and unselfish.

Later in 1911, in a Jaw called ‘The Building of Thelema’, it is clear that the building of the school in his promised land of Steep is the physical act and emblem of the creation of his educational vision: “Year by year the building is going on and you are helping to build it. I do not mean these actual buildings of brick and timber, or even the [Lupton] Hall that is beginning to rise as your gift to your school… For the spirit in which we work and live is the stuff with which we build the city of our dreams.”

For us, the sense that the place has been moulded by the work of generations of students and staff is integral to its influence on how we feel and think about it. The awareness that this process of continuous change is healthy and invigorating is at the heart of that influence.

By Keith Budge, Headmaster, Bedales Schools

Evening at Chalk Farm

RIBA Twitter crop

By Keith Budge, Headmaster, Bedales Schools

Last time I was at the Round House, I was watching Bob Hoskins in all the pomp of his stage villainy plot the downfall of the Duchess of Malfi.  Tuesday evening and I am sitting at a fancy table, well dined, in a Round House adapted for the RIBA awards, surrounded by architects, listening to Louise Minchin describe the four buildings that are shortlisted for Client of the Year: Bedales School Art & Design Building being one of them.  The judge opens his envelope and – wow! – Yes, we have won.

Up onto the stage we go for the presentation of the award and my brief, sob-free, acceptance speech.  Big thanks are due to Tom Jarman of Feilden Clegg Bradley Studios who nominated us for the award and to the home team: Matthew Rice whose vision for the building informed the project;  our bursar, Richard Lushington, who held all the different dimensions together; Nigel Hartley, the project manager; and the heads of Art and Design, Simon Sharp and Ben Shaw.

Cameras flash etc and we troop off to leave the stage free for the Stirling Prize – Hastings Pier, which is firmly on my list of places to visit.

The RIBA Client of the Year has been awarded since 1998 and we are the first school to win the prize – you can see the previous winners here.

So, this is good for Bedales, for the independent sector and for schools in general.  Building well, works – great design and a great process is often no more expensive than the grimly utilitarian. And you have a building that will inspire for a century or so.

For me, there are three major lessons that come from the Client of the Year accolade.

The first is the power of ethos.  The RIBA booklet describes it as “a building after a philosophy of being”. In the same way that we have tried to ensure that the ethos permeates the curriculum, so the best of our buildings embody the ethos.  Appreciation of the beautiful, making and doing and the influence of the school environment are all key elements of that ethos which the building reflects.

The second is the power of consultation: students, staff, parents, OBs, the local community were all consulted.  The initial plans were rejected – “too big, too dark, too close to Steephurst” – and the revised ones then consulted on further.

Finally, it is the strength of collaboration. RIBA described is as “co-authorship in the truest sense”.  Architects and school understood, liked and respected each other, with a brilliant result.  Hoorah!