title: Final report: Reducing burglary through Secured by Design: a meta-analysis

authors: Armitage, Rachel

abstract: Secured by Design (SBD) is a UK-based crime prevention initiative that sets security standards for the built environment. Buildings that meet prescribed security standards are awarded SBD status and, all things being equal, are assumed to be at lower risk of crime. SBD draws heavily on the principles of situational crime prevention and crime prevention through environmental design.

This study reviewed the evidence on whether properties that meet SBD standards experience less crime than properties that do not. Following a comprehensive search of the literature, nine UK studies were included in our review. Eligibility was limited to studies that (1) measured levels of crime in SBD developments compared to matched non-SBD developments or (2) reported changes in crime before and after SBD accreditation in a treatment and control group. This sample included studies of new dwellings built to SBD standards (n = 7) and existing dwellings refurbished to SBD standards (n = 2).

Our analysis found that eight of the nine included studies reported that SBD accreditation was associated with lower levels of burglary. In only three of these studies was the observed effect statistically significant, however. Synthesising data across all nine studies, our results indicate that overall, burglary in SBD properties was 53% lower than in non-SBD properties. The impact on burglary was greater still when focussing only on new properties built to SBD standards. For this sample of studies, we found a 65% relative reduction in burglary compared to matched non-SBD properties. No statistically significant effect was observed for other forms of crime and disorder. Insufficient data meant that we could not measure the impact of SBD specifically in refurbished properties nor could we test for crime displacement or diffusion of crime control benefits. Importantly, there was no evidence of SBD leading to an increase in crime and disorder.

The findings from this review support the general hypothesis that more secure households experience less burglary. They also lend further support for the basic idea that crime can be reduced by removing opportunities to commit it. From a policy perspective, our results re-emphasise the importance of engaging with manufacturers and design professionals to ensure that crime prevention is considered at the design and planning stage of urban developments. More specifically, our findings indicate that upgrading and/or maintaining effective SBD standards is a sensible strategy to reduce burglary. Simply put, properties which met SBD standards were significantly less likely to be burgled.
Although the results of this study are generally positive, there are some notes of caution. Only a small number of studies met the inclusion criteria for this review (n = 9). This was most pronounced for studies of existing properties refurbished to SBD standards (n = 2). Of those studies that were included in the review, weaknesses were identified concerning study design and limited data were provided on factors such as the quality of SBD measures and crime displacement. Moreover, three of nine included studies are now over twenty years old and relate to SBD standards that have been superseded. Relatedly, the quality of security in non-SBD properties has, in general, improved over time, influenced by a combination of technological developments, policy changes and, potentially, the growth and influence of SBD itself. One consequence of these general improvements is that the difference in security between SBD and non-SBD developments may, on average, be less pronounced today than it was thirty years ago. This raises concerns about the equivalence of SBD vs non-SBD evaluation sites; some properties might meet SBD standards despite not being SBD accredited, thereby muddying SBD vs non-SBD comparisons. Newer high quality evaluation studies are therefore needed to determine whether the positive effects reported here hold in contemporary urban environments, with greater attention paid to the quality of household security being compared across SBD and non-SBD developments. Furthermore, to advance the evidence base for SBD, we recommend that future evaluation studies include a wider range of outcome measures (including displacement) and put data collection measures in place better to understand what specific aspects of SBD affect crime, through what mechanisms and under what conditions.

text: Final report: Reducing burglary through Secured by Design: a meta-analysis Secured by Design (SBD) is a UK-based crime prevention initiative that sets security standards for the built environment. Buildings that meet prescribed security standards are awarded SBD status and, all things being equal, are assumed to be at lower risk of crime. SBD draws heavily on the principles of situational crime prevention and crime prevention through environmental design.

This study reviewed the evidence on whether properties that meet SBD standards experience less crime than properties that do not. Following a comprehensive search of the literature, nine UK studies were included in our review. Eligibility was limited to studies that (1) measured levels of crime in SBD developments compared to matched non-SBD developments or (2) reported changes in crime before and after SBD accreditation in a treatment and control group. This sample included studies of new dwellings built to SBD standards (n = 7) and existing dwellings refurbished to SBD standards (n = 2).

Our analysis found that eight of the nine included studies reported that SBD accreditation was associated with lower levels of burglary. In only three of these studies was the observed effect statistically significant, however. Synthesising data across all nine studies, our results indicate that overall, burglary in SBD properties was 53% lower than in non-SBD properties. The impact on burglary was greater still when focussing only on new properties built to SBD standards. For this sample of studies, we found a 65% relative reduction in burglary compared to matched non-SBD properties. No statistically significant effect was observed for other forms of crime and disorder. Insufficient data meant that we could not measure the impact of SBD specifically in refurbished properties nor could we test for crime displacement or diffusion of crime control benefits. Importantly, there was no evidence of SBD leading to an increase in crime and disorder.

The findings from this review support the general hypothesis that more secure households experience less burglary. They also lend further support for the basic idea that crime can be reduced by removing opportunities to commit it. From a policy perspective, our results re-emphasise the importance of engaging with manufacturers and design professionals to ensure that crime prevention is considered at the design and planning stage of urban developments. More specifically, our findings indicate that upgrading and/or maintaining effective SBD standards is a sensible strategy to reduce burglary. Simply put, properties which met SBD standards were significantly less likely to be burgled.
Although the results of this study are generally positive, there are some notes of caution. Only a small number of studies met the inclusion criteria for this review (n = 9). This was most pronounced for studies of existing properties refurbished to SBD standards (n = 2). Of those studies that were included in the review, weaknesses were identified concerning study design and limited data were provided on factors such as the quality of SBD measures and crime displacement. Moreover, three of nine included studies are now over twenty years old and relate to SBD standards that have been superseded. Relatedly, the quality of security in non-SBD properties has, in general, improved over time, influenced by a combination of technological developments, policy changes and, potentially, the growth and influence of SBD itself. One consequence of these general improvements is that the difference in security between SBD and non-SBD developments may, on average, be less pronounced today than it was thirty years ago. This raises concerns about the equivalence of SBD vs non-SBD evaluation sites; some properties might meet SBD standards despite not being SBD accredited, thereby muddying SBD vs non-SBD comparisons. Newer high quality evaluation studies are therefore needed to determine whether the positive effects reported here hold in contemporary urban environments, with greater attention paid to the quality of household security being compared across SBD and non-SBD developments. Furthermore, to advance the evidence base for SBD, we recommend that future evaluation studies include a wider range of outcome measures (including displacement) and put data collection measures in place better to understand what specific aspects of SBD affect crime, through what mechanisms and under what conditions.

year: 2024-09

title: Composition Portfolio

authors: Johnson, Katie Andrea Elizabeth

subjects: Orchestra

abstract: I have enjoyed this year, writing pieces that are special to me because they relate to experiences during 2008. I've written for orchestra, choir and an ensemble of xylophones and saxophone. Each piece has extended my skills and creativity in different ways from previous compositions.
Prelude to the Unspoken 
This work is for symphony orchestra. Last year, it was rehearsed and recorded by the NZSO as part of the NZSO/Todd Young Composers Awards 2008. The pieces were recorded in the Michael Fowler Centre and conducted by Hamish McKeich. It was exciting to hear the piece come alive and watch the orchestra rehearse. Now I have heard the recording in a calmer state and know what it actually sounds like, I have been able to evaluate some decisions and whether or not they worked. 
As long as I have played instruments, I have played in orchestras. I can draw on these experiences when composing because as a clarinettist, you sit in the middle of the orchestra, and can hear the different sections playing and how their parts/notes relate to the rest of the orchestra. As a percussionist, hearing the orchestra from the back (when counting rests!) also reveals a different point of view. 
This year I chose to compose a slower, more contemplative piece. Last year, my compositions were dense and busy, so writing this piece required me to use space and texture in new ways. The title Prelude to the Unspoken alludes to something being stated but stopping before anything is revealed. 
A Schulwerk Orffering 
I was inspired to compose for the forces used in this piece because of an Orff- Schulwerk teacher training course I attended in 2008. As part of the Masters of Music degree, I completed a Level 1 workshop and on-line component - Orff Music Education-Theory and Practice 1, and more recently, completed the Level 2 workshop. Orff-Schulwerk education is a holistic, hands-on approach that explores music physically and through different instruments such as body percussion and approachable instruments (for children) such as recorders, mallet instruments and small percussion. 
One activity during the course was playing a tune from the Orff-Schulwerk volumes, where everyone was playing a mallet instrument - xylophone, marimba, glockenspiel, from soprano to bass, while the teacher improvised a tune on the recorder, over the top of this moving carpet of sound we were making with our ostinatos and drones. This was just like being in the middle of the orchestra. While playing my ostinato, I was in the centre of all of this sound, hearing how each simple ostinato made an interesting accompaniment. 
I was also influenced by Philip GIass' Fascades, where the cross rhythms of the accompaniment create a carpet of sound, while the simple saxophone melody floats over top. I wanted to create something similar with tenor saxophone and the educational xylophones. 
I chose to write for two alto and two bass xylophones (small, educational instruments with no chromatic notes). These instruments were available at the course and I was able to have these with me while I composed. Because I do not usually play a mallet instrument, I composed ostinatos that I was able to play. All the techniques are those explored in Orff-Schulwerk - ostinato, drone, sound carpet, imitation. The saxophone sits quite high in the first movement, holding long notes, while in the second movement, the saxophone is active with a wide range of notes. 
I recently had an item about this piece in the Orff New Zealand Aotearoa newsletter 'Sounding Orff'. I hope to get a recording/performance of this piece from a response to the newsletter. Missa Brevis 
I sing in the Hamilton Civic Choir and have sung many Masses so was interested in writing a Missa Brevis. The movements Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei are for SATB with some movements scored for divisi voices. 
The style of this piece is approachable for many choirs because of traditional harmonic and musical organisation, while including modern arrangements of the text and approach to the music. Some choir members queried the fact that sometimes their part does not say a whole word, for example, just singing 'Dom', not 'Domine'. The words were deliberately set like this because when using block writing, as opposed to polyphony, I felt the extra syllables would change the desired musical and rhythmic texture. 
I wrote this piece with the Hamilton Civic Choir in mind because I know their capabilities. For example, I know the second basses can reach a low D. For the very low notes, I've added an octave option for the first basses or all basses if another choir cannot reach them. This recording by members of the choir was not up to the choir's usual standard because of time restrictions. The piano is used in my recording but is for rehearsal use only. The Gloria will be performed in the Choir's first 2009 concert in March.

text: Composition Portfolio I have enjoyed this year, writing pieces that are special to me because they relate to experiences during 2008. I've written for orchestra, choir and an ensemble of xylophones and saxophone. Each piece has extended my skills and creativity in different ways from previous compositions.
Prelude to the Unspoken 
This work is for symphony orchestra. Last year, it was rehearsed and recorded by the NZSO as part of the NZSO/Todd Young Composers Awards 2008. The pieces were recorded in the Michael Fowler Centre and conducted by Hamish McKeich. It was exciting to hear the piece come alive and watch the orchestra rehearse. Now I have heard the recording in a calmer state and know what it actually sounds like, I have been able to evaluate some decisions and whether or not they worked. 
As long as I have played instruments, I have played in orchestras. I can draw on these experiences when composing because as a clarinettist, you sit in the middle of the orchestra, and can hear the different sections playing and how their parts/notes relate to the rest of the orchestra. As a percussionist, hearing the orchestra from the back (when counting rests!) also reveals a different point of view. 
This year I chose to compose a slower, more contemplative piece. Last year, my compositions were dense and busy, so writing this piece required me to use space and texture in new ways. The title Prelude to the Unspoken alludes to something being stated but stopping before anything is revealed. 
A Schulwerk Orffering 
I was inspired to compose for the forces used in this piece because of an Orff- Schulwerk teacher training course I attended in 2008. As part of the Masters of Music degree, I completed a Level 1 workshop and on-line component - Orff Music Education-Theory and Practice 1, and more recently, completed the Level 2 workshop. Orff-Schulwerk education is a holistic, hands-on approach that explores music physically and through different instruments such as body percussion and approachable instruments (for children) such as recorders, mallet instruments and small percussion. 
One activity during the course was playing a tune from the Orff-Schulwerk volumes, where everyone was playing a mallet instrument - xylophone, marimba, glockenspiel, from soprano to bass, while the teacher improvised a tune on the recorder, over the top of this moving carpet of sound we were making with our ostinatos and drones. This was just like being in the middle of the orchestra. While playing my ostinato, I was in the centre of all of this sound, hearing how each simple ostinato made an interesting accompaniment. 
I was also influenced by Philip GIass' Fascades, where the cross rhythms of the accompaniment create a carpet of sound, while the simple saxophone melody floats over top. I wanted to create something similar with tenor saxophone and the educational xylophones. 
I chose to write for two alto and two bass xylophones (small, educational instruments with no chromatic notes). These instruments were available at the course and I was able to have these with me while I composed. Because I do not usually play a mallet instrument, I composed ostinatos that I was able to play. All the techniques are those explored in Orff-Schulwerk - ostinato, drone, sound carpet, imitation. The saxophone sits quite high in the first movement, holding long notes, while in the second movement, the saxophone is active with a wide range of notes. 
I recently had an item about this piece in the Orff New Zealand Aotearoa newsletter 'Sounding Orff'. I hope to get a recording/performance of this piece from a response to the newsletter. Missa Brevis 
I sing in the Hamilton Civic Choir and have sung many Masses so was interested in writing a Missa Brevis. The movements Kyrie, Gloria, Sanctus, Benedictus and Agnus Dei are for SATB with some movements scored for divisi voices. 
The style of this piece is approachable for many choirs because of traditional harmonic and musical organisation, while including modern arrangements of the text and approach to the music. Some choir members queried the fact that sometimes their part does not say a whole word, for example, just singing 'Dom', not 'Domine'. The words were deliberately set like this because when using block writing, as opposed to polyphony, I felt the extra syllables would change the desired musical and rhythmic texture. 
I wrote this piece with the Hamilton Civic Choir in mind because I know their capabilities. For example, I know the second basses can reach a low D. For the very low notes, I've added an octave option for the first basses or all basses if another choir cannot reach them. This recording by members of the choir was not up to the choir's usual standard because of time restrictions. The piano is used in my recording but is for rehearsal use only. The Gloria will be performed in the Choir's first 2009 concert in March.

year: 2009

title: Education for sustainability in New Zealand schools: An evaluation of three professional development programmes

authors: Eames, Chris W.

subjects: Education for Sustainability

abstract: This Summary Report summarises an evaluation of three Education for Sustainability (EfS) professional development programmes being funded by the Ministry of Education: the Enviroschools Programme, the National EfS (NEfS) Team and Mātauranga Taiao. It is supported by a more extensive Overview Report (Part One in Related Pages) on the evaluation of these three initiatives and an individual report on each initiative (Parts Two-Four in Related Pages).

text: Education for sustainability in New Zealand schools: An evaluation of three professional development programmes This Summary Report summarises an evaluation of three Education for Sustainability (EfS) professional development programmes being funded by the Ministry of Education: the Enviroschools Programme, the National EfS (NEfS) Team and Mātauranga Taiao. It is supported by a more extensive Overview Report (Part One in Related Pages) on the evaluation of these three initiatives and an individual report on each initiative (Parts Two-Four in Related Pages).

year: 2010