How do the places where we learn impact the transition from childhood to adulthood? What role does the physical environment play in the development of adolescents, especially during times of transformation like the global pandemic? These questions echo through the halls of the Classroom exhibition at the Z33 House of Contemporary Art, Design and Architecture in Hasselt, Belgium. The architectural exhibition embarks on a captivating exploration of the profound impact of physical spaces on adolescent development. In an exclusive conversation with STIR, the curator, Joaquim Moreno, reveals the inspiration behind the exhibition and the lessons learned from students navigating diverse learning environments.

The COVID-19 pandemic underscored the pivotal role of where and how education takes place during the transition from childhood to adulthood. Teenagers faced the abrupt closure of schools, forcing them to adapt to home-based learning. Adolescents, once accustomed to walking together at school, were now navigating this crucial phase alone, each with a small screen as their classroom. Moreno describes to STIR how adolescents were left to fend for themselves, creating shared classrooms and resorting to software emulations like Teams or Google Classroom. The pandemic not only revealed the adaptability of the old learning environment but also highlighted the lack of autonomy given to teenagers, who were asked to self-organise without the expected citizenry, corresponding voice or representation. 

In response to this tension between a longstanding learning environment and a recent historical subject asked to behave as an adult, the Classroom exhibition emerged. Instead of seeking the new, the focus shifted to the transformation of the often invisible changes brought to the forefront by the pandemic. The emphasis turned from teaching to learning, giving voice to and listening to the agents of change: teenagers. The exhibition challenges conventional teaching approaches, questioning the notion of ‘frontal’ teaching that has persisted for decades in traditional classrooms. Moreno emphasises the need to reconsider these pedagogical notions, especially when applied to teenagers. The exploration reveals that the concept of ‘frontal’ teaching is limited to a narrow part of the high school experience, highlighting the need to broaden our understanding of learning spaces beyond conventional paradigms.

The showcased models of iconic school buildings become more than architectural exhibits. They serve as tangible representations of the need to re-evaluate traditional classrooms and adapt to new demands in learning spaces. The curator articulates the exhibition’s defining philosophy, stating, “There were some research principles to guide the search for schools we could learn from: they should be from the age of adolescence onwards, meaning after the Second World War, when the teenagers become both a mass consumer and a historical subject, they should be public, with free access, and they should be alive and changing, in use and consequently in transformation.”

The exhibition unfolds into five chapters, each exemplified by an emblematic educational building still in operation, reflecting a unique vision of adolescence. As we journey through Production, Personification, Encounter, Transgression and Profession, the exhibition prompts a closer look at the evolution of educational spaces over the last half-century.

Production - Adapting to Change

The production chapter examines the material reconstruction of Europe post-World War II, emphasising the considerable development of secondary education. St Crispin’s School in Wokingham, built in 1953, became a beacon illustrating how architects opted for industrial techniques and experimental constructions. The 15 modular system allowed for a fusion of traditional classrooms and adaptable spaces. This chapter raises essential questions about the role of adolescents in the design of educational establishments and advocates for inclusivity. It delves into the need to involve adolescents in shaping their school environments, ultimately giving them the often-forgotten aspect of citizenship.

Personification – Growing into Society

The second chapter, Personification, highlights the gradual transition from childhood to adulthood. The Avignon agricultural secondary school project designed by Roland Bechmann became a symbol of ecological awareness, prompting reflection on how schools can nurture responsible adults and reduce the ecological footprint. The exhibition explores the intricate balance between comfort and ecology, emphasising the role of schools in promoting sustainability. The focus is on ecological awareness and food production within the laboratory and incubation spaces, illustrating the potential for reducing the ecological impact of school architecture.

Meeting – Shaping Political Engagement

In the third chapter, the Geschwister-Scholl-Gesamtschule in Lünen, completed in 1962, takes centre stage, highlighting the influential role of educational establishments in shaping political commitment. The octagonal amphitheatre becomes a symbol of collective and democratic use, reflecting on the impact schools can have on democracy. The layout of auditoriums mirrors political party arrangements, emphasising the importance of schools as meeting places for adolescents, even those without the right to vote. The chapter underscores the strength of schools as platforms for dialogue and societal engagement.

Transgression – Beyond Conventional Teaching

The chapter highlights the role of artistic teaching in counterbalancing conventional norms. The Calouste Gulbenkian Conservatorium in Aveiro, Portugal, becomes a haven of freedom, challenging traditional teaching methods and prompting questions about the purpose of learning. The exhibition challenges the notions of classrooms as isolated spaces, advocating transgression and constant questioning of limits and norms. The Conservatorium embodies the belief that a classroom can be a space for civil disobedience to emerge, emphasising the need for critical thinking to reshape educational settings.

Professional – Preparing for the Digital Age

The final chapter delves into the dual mission of secondary schools; preparing adolescents for higher education and the labour market. The Jean Mermoz Vocational High School in Beziers, designed in the 1950s by Pierre Jeanneret, Jean Prouve and Charlotte Perriand serves as a case study in adapting to the post-industrial digital age. This chapter raises critical questions about how the evolving nature of work influences teaching and prompts a re-evaluation of teaching methodologies. It challenges school design to align with the digital economy while questioning the form and functioning of traditional educational premises.

In exclusive video testimonials, students from four European countries share their perspectives on various learning environments. The main takeaway is the importance of listening to the voices of adolescents and recognising their unique experiences in a world dramatically different from the previous generations. The exhibition serves as a reminder that architecture plays a crucial role in their learning, and there is much to be learned by simply stopping and listening. One striking observation is the student’s keen awareness of the relevance of architecture in their learning. Often viewed as a backdrop, architecture emerged as a dynamic force influencing their educational experience. This challenges the conventional notion that the physical environment merely provides a setting for learning, emphasising its active role in shaping the educational journey.

The student's voices underscore the need for a nuanced understanding of their world, acknowledging the disconnect between assumed problems projected from the curator’s adolescence and the current challenges faced by teenagers. The exhibition becomes a platform to bridge the gap, shedding light on the often overlooked aspects of the teenage world, marked by depleted sources and an uncertain future.

Within the exhibition, school furniture becomes a symbolic and practical representation of the evolving needs and trends in educational spaces. The attempt to find a table for each of the five topics of the exhibition, ranging from seminar tables to workbenches, signifies the multifaceted nature of contemporary learning environments. The absent table, making room for assembly and borrowed historical chair designs emphasise the practical goal of education, ensuring that everyone has a place at the table.

In the videos, teenagers elaborate on their perceptions of classrooms, with furniture designs, plans, and models animating these learning spaces. The furniture becomes more than a physical element; it becomes a reflection of the evolving needs of students. The seminar table, embodying the themes of production and participation, symbolises collaborative learning and inclusivity. The growing table from an agricultural school represents not just physical growth but also ecological awareness and responsible citizenship.

The drafting tables for transgression and art education, borrowed from an Arts School, transcend their functional purpose. They become symbols of freedom and expression, an illustration of how specific spaces within schools can foster creativity and challenge conventional norms. The workbench for the relationship between learning and working environments serves as a tangible connection between education and future careers, prompting a re-evaluation of the relationship between work and teaching. The significance of school furniture transcends its utilitarian purpose, becoming a reflection of the evolving needs of students and the dynamic nature of educational spaces. As education strives to adapt to an ever-changing world, the exhibition prompts a crucial question: How can schools introduce more equality, inclusion and balance into their spaces?

In the curator’s reflection on the immersive exhibition, Moreno shares, "The significance of the absent table and the historical chairs isn’t just symbolic, it embodies the very essence of education. Ensuring a place for everyone at the table, both physically and metaphorically, is a practical goal. It is about creating spaces where dialogue and assembly are not just encouraged but essential for a holistic learning experience.”

Classroom transcends being a mere architectural exhibition, it becomes a journey through the transformative landscapes of adolescence and education. As the world grapples with the future of learning, this exhibition challenges traditional norms, urging a re-evaluation of educational spaces. In the words of curator Joaquim Moreno, the exhibition prompts us to “listen carefully” to the teenagers, acknowledging that their answers are windows into their worlds. By embracing this shift, the exhibition emerges not only as a beacon for architectural innovation but as a vital contribution to the ongoing conversation about the future of education.

The 'Classroom' is on view at Z33 House of Contemporary Art, Design and Architecture in Hasselt, Belgium until February 18, 2024.