Design

Design, for me, begins with drawing. Through graphic representation (sketches, diagrams, and iterative variation) ideas move from the abstract to the tangible. Drawing is not merely illustration or child’s play; it is how I interrogate problems, test propositions, and arrive at resolution. I understand drawing as a visual language and a tool for meaning-making: mapping complexity, building artefacts, and expressing thinking in forms that invite shared understanding. This commitment to visual reasoning has shaped my practice for more than thirty years.

My methodology externalises ideas through graphic form. It reflects a designerly way of knowing, one that recognises the visual as a legitimate and rigorous mode of inquiry. Across contexts, this is how I think as a designer: See it. Visualise it. Refine it. Release it.

What sustains my commitment to design is its disciplinary reach. Design thinking (as a habit of mind) does not belong to a single field. It operates across architecture, education, visual communication, and experience design. This porousness is precisely what gives design its power.

I am drawn to modernist architects such as Frank Lloyd Wright, Alvar Aalto, Ludwig Mies van der Rohe, and Le Corbusier, not only for their buildings, but for the breadth of their creative ambition across furniture, textiles, painting, and drawing. Their work demonstrates that design is an integrated practice of thinking and making.

This is what I mean when I call myself a designer. It is not a title tied to a single output or medium, but a disposition – a way of seeing and responding to complexity through disciplined visual thinking and creative process.

This philosophy underpins the exemplar projects below, where visual thinking and co-design guide the development of educational technologies and learning experiences.


I lead the design and delivery of research-informed digital learning programs that improve education at national scale.

Over eight years as ELSA Research Project Manager at the University of Canberra, I led multidisciplinary teams of academics, professional staff, and distributed design and development partners to deliver two of the Faculty of Education’s largest research initiatives. These projects established large-scale digitally enhanced learning programs that continue to reach children, educators, and families across Australia. These programs have been implemented in schools and early learning settings across Australia, supporting thousands of children and educators.

Funded at $14.2M through the National Innovation and Science Agenda (NISA), I liaised with federal government departments to meet contractual milestones and compliance requirements while directing collaboration with leading design and development studios including Two Moos, Mode Games, Stripy Sock, and Anomaly.

The ELSA initiatives were developed to address persistent gaps in early STEM confidence, spatial reasoning, and teacher support in the early years of schooling.

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Importance and Impact

A blended program combining digital and physical resources, ELSA Preschool centres on 16 children’s mobile apps organised into four pedagogical themes — Representations, Investigations, Locations, and Decoding — alongside books and physical classroom games (including the Australian Bird Game). An Educator Classroom App supports teaching practice, while a Families web app extends learning into the home through activities aligned with the curriculum.

Developed to increase participation and achievement in primary STEM education, this program focuses on spatial and logical reasoning capabilities linked to future success in STEM disciplines. At its core was a digital learning platform and a nationwide randomised controlled trial involving more than 7,500 students, making it one of the largest randomised controlled trials (RCT) in early years STEM education conducted in Australia.

Using ELSA Schools Foundation to Year 2 as an exemplar, I led the program from initial concept through to full deployment. I was responsible for its creative and strategic direction, spanning pedagogical framing, game ideation, production, testing, and national rollout.

My role covered the full design lifecycle: I developed curriculum-aligned game concepts grounded in learning theory, created paper prototypes for rapid iteration, and produced detailed digital prototypes that informed production-ready games. This end-to-end design process ensured the program remained anchored in educational purpose rather than technological novelty.

I managed two specialist external studios across parallel workstreams. I directed Mode Games (Sydney) — one of Australia’s leading educational game developers — in the design and build of 47 Unity-based web games for children. I provided interface concepts, creative briefs, and ongoing design direction, maintaining quality and pedagogical integrity across a complex, multi-year production pipeline.

In parallel, I oversaw Anomaly (Canberra) in developing the teacher-facing platform, a sophisticated system integrating structured lesson plans, professional learning resources, classroom management tools, and real-time student learning dashboards. Coordinating both studios required rigorous governance, clear communication of technical and pedagogical requirements, and stewardship of a coherent product vision across evolving workstreams.

Working collaboratively with colleagues and end users, our research team designed games that enable children to experience success through supported challenge — fostering persistence and resilience alongside STEM knowledge. We designed the Teacher Tool with equal care, equipping educators with the insight and structure needed to monitor progress and deliver the program with confidence.

Teacher dashboard prototype design

The breadth of this project — spanning research design, UX and game design, curriculum development, multi-studio production management, and a national-scale RCT — reflects the integrated leadership and design thinking I bring to complex educational technology initiatives that cross interdisciplinary boundaries. This work demonstrates how design, research, and strategic implementation can translate educational theory into scalable classroom impact.


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I co-led ARstudio, a $224,000 Office for Learning and Teaching–funded research initiative that transformed how educators approached augmented reality in learning contexts. Working with colleagues from the University of Canberra, Australian National University, and Macquarie University, I established the project’s distinctive design-thinking methodology, positioning pedagogy and co-design at the heart of innovation rather than technology-first thinking.

I facilitated the development of practice models, educational frameworks, and capacity-building initiatives that enabled educators to design their own pedagogically grounded uses of AR. This human-centred approach moved beyond demonstrating technology to empowering educators as designers of their own augmented learning experiences. We developed workshop curricula using service design approaches, created resources that scaffolded educators’ journeys from novice to confident AR creators, and ensured every initiative remained anchored in pedagogical purpose rather than technological novelty.

This work was recognised with the 2014 University of Canberra Vice-Chancellor’s Excellence Award for Enhanced Learning Programs. ARstudio demonstrated that when educational technology innovation is led by design thinking, the result extends beyond tool adoption to transformation in how educators conceptualise learning.


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The Inspire Centre is a $7.2 million joint venture between the University of Canberra, the ACT Education Directorate, and the ACT Government. Established as an applied design–research hub, the Centre advances innovation in education and training through the integration of learning sciences, emerging technologies, and learning space design.

I contributed to the Centre’s design-led approach, supporting collaborative innovation processes and the development of technology-enabled learning environments aligned with contemporary pedagogical practice.

Grounded in the learning sciences, the Centre investigates how digital technologies and physical environments can improve learning in both formal and informal settings. Its mission is to support the research, development, and implementation of innovative ICT-enabled educational practices while strengthening system-wide capacity for pedagogical innovation.

Design thinking underpins the Centre’s methodology, providing a structured process for collaborative idea generation, co-design, and problem solving. This approach enables educators, researchers, and industry partners to work together to design solutions grounded in real educational contexts.

A hallmark of the Inspire Centre is its technology-enabled learning environments, purpose-built to support active learning, collaboration, and co-design. These flexible spaces allow educators and learners to experiment with new pedagogical approaches supported by advanced digital infrastructure.

Key themes

• Active participatory learning
• Collaborative knowledge building
• Mobile technologies and social software
• Agile learning spaces and educational design
• Professional learning communities
• Strategic partnerships

The Centre illustrates how design-led collaboration and purpose-built learning environments can support system-wide educational innovation.


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I designed and facilitated a Design Thinking workshop for the New South Wales Police Force Training Centre in Goulburn to evaluate organisational needs and critical dependencies for virtual reality training and tactical simulation systems.

Using structured design thinking processes, the workshop engaged police trainers and operational staff in collaborative analysis and ideation to identify the behaviours, decision-making skills, and operational competencies most effectively developed through simulation-based training.

The project culminated in the adaptation of the Business Model Canvas into a specialised Gamification Model Canvas, enabling the organisation to clearly visualise training objectives, implementation requirements, cost implications, and strategic benefits across alternative simulation platforms.

This process provided a shared decision-making framework supporting evidence-informed planning for future simulation training investments.


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Furniture

The Traverse Chair - A Wooden Chair designed and built by Matt Bacon

Traverse explores movement, structure, and material honesty through a quietly expressive form. Its forward-leaning stance suggests motion, while the curved back softens the geometry to support a relaxed posture.

Crafted from Australian ash and hoop pine, the restrained material palette highlights clarity of form and visible joinery. Circular perforations lighten the structure and introduce rhythm, reinforcing the balance between strength and lightness.

Traverse sits between utility and sculpture, designed for everyday use while inviting closer attention through proportion, balance, and craft.


As part of my work for Geoff Driscoll Architects (Canberra) I designed this communion table for Hughes Baptist Church as part of the new church build.

The church’s award-winning timber roof structure inspired the use of richly toned jarrah for the tabletop, echoing the warmth and structural expression of the interior architecture.

The circular top softens the perceived boundary between those serving communion and the congregation. Its concave arrangement allows servers to sit in an open arc, fostering a welcoming and inclusive visual presence for those observing the sacrament.

The tabletop appears to float above bespoke stainless steel brackets that connect it to the base. This concave geometry is echoed in the curved laminated hoop pine legs and the central stabilising bar, which is pinned with jarrah. Together, these elements emphasise natural materials and organic structure while expressing clarity, balance, and unity.