Darlington is a small school located on the fringe of the city of Sydney, near Redfern and vibrant and cosmopolitan Newtown. It features a sequence of linear brick forms, reflecting the masonry character of the surrounding residential and industrial context and houses flexible learning spaces, a hall, and support areas.

Complementing this, a curvilinear perforated metal screen defines fluid, organic movement and gathering spaces, seamlessly connecting outdoor play areas and gardens.

The school has been radically transformed by fjcstudio, making way for new and contemporary learning environments, creating a safe and welcoming atmosphere, fostering a sense of belonging amongst the close-knit community of students, their families and school staff.

The school’s inclusive culture is a key part of the new design, acknowledging and respecting children from diverse family and cultural backgrounds. In this interview with Architecture & Design Digital Editor Clémence Carayol, fjcstudio Design Director Richard Francis-Jones delves into the project, from its genesis to its completion.

Architecture & Design: Can you describe the initial vision for this project and how it evolved over time?

Richard Francis-Jones: The vision for Darlington Public School was grounded in a deep understanding of place, its layered histories, cultural significance, and physical constraints. The site sits at a convergence of narratives: Gadigal Country with enduring spiritual and ecological meaning; an industrial precinct defined by brick warehouses and working-class housing; and a vibrant, diverse school community with a strong First Nations presence.

From the outset, our intent was to create more than just a functional learning environment. We aimed to develop a civic place of belonging, an architecture that could embody inclusion, support future-focused education, and hold the complexity of different identities within a coherent, thoughtful framework.

As the design evolved, it became a dialectical response. It brought together the urban density of inner Sydney with an openness to Country; the structured rationality of formal education with the wonder and playfulness of children; and contemporary pedagogical models with Indigenous knowledge systems.

Key spatial and cultural decisions, including yarning circles, reinterpreted murals, and endemic landscaping, were shaped through sustained dialogue with the school’s Aboriginal Art Group, staff, and Elders.
The result is not a singular gesture but a layered architecture, one that reflects a shared identity, supports learning in multiple modes, and responds to Country with care and integrity.

What were the biggest challenges you faced during the design and construction phases, and how did you overcome them?

The most significant challenge was resolving the complexity of building on a highly constrained urban site while maintaining uninterrupted school operations. The campus is hemmed in by dense residential and commercial development, limiting buildable area and demanding sensitive consideration of privacy, solar access, and acoustics.

Rather than relocating students to temporary offsite facilities, we implemented a two-stage construction strategy that enabled the school to remain operational. This approach allowed early access to new facilities, preserved community continuity, and avoided the environmental and financial costs of decanting infrastructure.

Culturally, the challenge was to meaningfully integrate First Nations perspectives; not as an overlay, but as an embedded part of the architecture. This required careful consultation and collaboration, ensuring spatial planning, landscape design, and material language were shaped by cultural insight rather than symbolism alone.

How did you ensure that the project met the client’s needs and expectations?

Meeting the client’s expectations required more than fulfilling a brief. It meant delivering a school that reflects the community’s spirit: Cultural respect, inclusive learning, and civic presence.

We worked closely with School Infrastructure NSW, educational consultants New Learning Environments, and the school community to define a vision that was pedagogically ambitious and culturally specific.

This is a special school that belongs to the community, with 25% of students being First Nations. The narratives of these students and alumni are integral to the design, reflecting their stories not only in the architecture and interior spaces but also in the celebration of artworks.

The school’s diversity is mirrored in the varied learning environments, including formal and informal spaces, tiered presentation areas, practical activity zones, open-plan learning settings, quieter, more focused areas, and a strong connection to outdoor learning.

Engagement with First Nations staff and the Aboriginal Art Group informed decisions across scales, from the layout of learning hubs to the integration of totemic graphics and Indigenous signage. All learning spaces open to outdoor terraces, enabling a seamless flow between formal and informal learning environments.

Public-facing elements like the hall and library were positioned to welcome community use while respecting the neighbourhood scale. The curvilinear perforated screen, referencing the casuarina trees once lining Blackwattle Creek, offers solar protection while expressing the project’s connection to Country.

Were there any unique or innovative techniques or materials used in this project?

Innovation at Darlington lies not in spectacle, but in responsiveness. The spatial model reimagines the traditional school typology, replacing enclosed classrooms with flexible, light-filled learning hubs that support collaboration, storytelling, and differentiated learning.

A robust masonry envelope provides thermal mass and acoustic protection, enclosing naturally ventilated interiors. Over 70% of teaching spaces rely on passive ventilation, with mixed-mode systems used only when necessary, ensuring energy efficiency while maintaining a sensory connection to the landscape.

The sawtooth roof references the industrial past while maximising daylight and accommodating solar collection. Materials were locally sourced and chosen for their durability, reduced embodied carbon, and cultural relevance.

Several removed trees were repurposed into the new landscape. The dry creek bed traces the path of the now-buried Blackwattle Creek, and a sinuous poem is inscribed at the entry, grounding the site in story.

Cultural representation is embedded through the digital reinterpretation of murals and co-designed totemic signage, integrating memory, learning, and place. The landscape is reflected in the interiors, creating a continuous visual connection to each learning space.

The materials selected reflect the colours and patterns of Country. The warm golden-coloured screens echo the patterns of the casuarina tree, with veins endemic to the site, allowing sunlight to create dappled patterns.

The curves provide a soft response, creating a safe and nurtured environment for children. Both the exterior and interiors are restrained and simple, yet well-proportioned, considered, and detailed, appropriate for a primary school.

An extensive collection of Aboriginal artworks has been preserved and displayed around the school. Murals painted on demolished walls were photographed and reproduced in the cladding, offering a tactile response and adding a new layer of interpretation, preserving stories of Country for future generations.

The landscape further contributes to learning opportunities with QR codes describing the names and uses of Indigenous plants, reinforcing the school's commitment to a holistic educational experience.

How does this project fit into your broader portfolio and design philosophy?

Darlington Public School reflects fjcstudio’s commitment to design as a social and cultural practice. It exemplifies our belief that architecture should be site-specific, inclusive, and shaped by deep listening to both community and environment. This approach aligns with our broader philosophy, as seen in many of our key fjc projects, where cultural narratives, community engagement, and environmental intelligence guide the design process.

The project also aligns with our ongoing commitment to decolonisation. By engaging with First Nations staff and the Aboriginal Art Group, we aimed to create spaces that not only support learning but also recognise and celebrate Indigenous stories and connections to Country. This is not a superficial addition, but an essential part of the design, as we recognise the historical and ongoing impacts of colonisation and strive for reconciliation in both physical and cultural terms.

As with our other works, Darlington reflects a rejection of generic, colonial-inspired design, favouring architecture that is grounded in the specificities of the land, the community, and the culture it serves. The school is a place not just for education, but for care, memory, and belonging, embodying a holistic approach to design that respects both people and place.

How do you feel about this project being crowned World Building of the Year at WAF?

The recognition was deeply meaningful, not only for our team, but for the broader conversation about what architecture can be. Darlington Public School is not a project of spectacle; it is a project of purpose, where cultural care, environmental thinking, and pedagogical ambition come together.

That it was awarded World Building of the Year speaks to a growing recognition that smaller, community-centred projects can have global relevance. It affirms the value of working with integrity; listening to Country, collaborating with community, and designing for the future through the lens of placemaking.

This was our second time receiving the award, following Auckland Art Gallery Toi o Tāmaki. In both cases, the recognition underscores the potential of architecture to shape shared identity, support civic life, and deepen our connection to place.

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