AQUA PROFONDA

Architect Victoria

AQUA PROFONDA

AQUA PROFONDA: Water and Waste

Architect Victoria 2019 summer summer 2019

$14.90 Official Journal of the Australian Institute of Architects Victorian Chapter Print Post approved PP 381667-00206 • ISSN 1329-1254 .

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Contents —

Architect Victoria summer 2019 02 President’s message 03 Chapter news 06 Editorial 08 Laneways as water and waste infrastructure 15 Reading the Moonee Ponds Creek 19 Rising tides 23 Wasted feelings 28 Urban wild swimming 32 Three Birrarung projects 36 Slice 38 Profile 42 Office of the Victorian Government Architect

Australian Institute of Architects Victorian Chapter Level 1, 41 Exhibition St Melbourne, VIC 3000

Managing Editor Ruth White

ABN 72 000 023 012

Graphics Coordinator Eloyse McCall

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Editorial and Publishing Coordinator Emma Adams

Guest Editors Piers Morgan Vlad Doudakliev Editorial Committee James Staughton (Chair) Elizabeth Campbell Laura Held Yvonne Meng John Mercuri Justin Noxon Sarah Lynn Rees Keith Westbrook

On the Cover Fountains for Moonee Ponds Creek project by Joseph L Griffiths, reproduced with kind permission. The title AQUA PROFONDA references this edition's themes of water heritage in Victoria, and more specifically the heritage-listed Fitzroy Pool sign, painted circa 1953—54.

Art Direction Annie Luo Prepress Spitting Image Sydney Printing Printed in Melbourne This Publication is Copyright No part of it may be reproduced, stored in a retrieval system or transmitted in any form or by any means including electronic, mechanical, microcopying, photocopying, recording or otherwise without the permission of the Australian Institiute of Architects Victorian Chapter.

Architect Victoria acknowledges the Traditional Owners of the land on which our office is located, and pays respect to the Elders past, present and future.

Disclaimer Readers are advised that opinions expressed in articles and in editorial content are those of their authors, not of the Australian Institute of Architects represented by its Victorian Chapter. Similarly, the Australian Institute of Architects makes no representation about the accuracy of statements or about the suitability or quality of goods and services advertised.

President’s message —

Water heritage

Victorian Chapter President Amy Muir

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As a citizen of a much loved country whose Federal Government standpoint on sustainability is embarrassingly frightening, I am overwhelmed with the collective task that we have ahead of us.

This edition of Architect Victoria, guest edited by Piers Morgan and Vlad Doudakliev, brings to light the very important issues associated with water heritage and waste. Piers and Vlad’s editorial raises the contradictions, necessities and encouraging potentials associated with this invaluable natural resource.

With just over 70 per cent of the earth’s surface dedicated to water we are no stranger to its presence and understanding its role. Water is one of our most fundamental life sources and when in shortage causes significant social and economic issues. It has also been, and continues to be, the subject of much political pontification and associated action and inaction.

Historically water has played a very important role in the development and evolution of infrastructure. It has shaped cities and defined an attitude towards sanitation, extraction and the processing of waste. As a global water body it plays host to our major transport routes accounting for over 90 per cent of the transportation of our world trade.

Its role has been significant and its ability to be utilised as a commodity if treated with respect and care should not be underestimated.

Sustainability is such a broad and often misused term to define the complexity of the subject matter. It is full of contradictions. As a society we hold in high esteem ancient cities that have stood the test of time and yet we are committing to delivering projects with fifty-year life spans and considering the demolition of significant buildings with prematurely severed life spans to make way for further development.

We are designing cities which forget that they are being built for people in preference for short-term economic gain. This is a legacy that we will be nursing for some time. In 2019 it is difficult to comprehend the

amount of daily waste we produce as individuals. It is therefore imperative that these issues are addressed in many forms. As architects we have a very real responsibility in shaping society through the contributions that we make.

It is incredibly important that we are communicating the facts and taking a stand in whatever capacity we can, supporting longevity and the building of sustainable communities.

A significant number of our members are contributing to this realm and the broad range of discussions and approaches raised in this issue are testament to this.

Continuing on from our 2018 MPavilion talks and collective campaigns in support of the protection of architecturally significant buildings, there are a number of upcoming events focusing on sustainable architecture. A special panel of leading architects will discuss their work in relation to zero-emissions building and design. This presentation at Birrarung Marr will feature as part of the 2019 National Sustainable Living Festival.

I would like to thank our members who have significantly contributed to the above issues and programs. Their expertise and advocacy is incredibly important in ensuring that change occurs.

I would also like to congratulate Piers and Vlad, the Editorial Committee and the many contributors for another must-read issue of Architect Victoria. Well done.

Chapter news —

From the Executive Director Ruth White

As ever, there is much to do and 2019 will be no different as we look to improve our offerings and respond to the needs of our members.

One of the member services we are looking at broadening is our Continuing Professional Development (CPD) program. This dove-tails nicely with the introduction of an annual

Emerging architects graduate network – EmAGN Camilla Tierney

It was really impressive to see the collaboration between EmAGN and Indigenous Architecture and Design Victoria (IADV) for a Cultural Twilight Walk in November by the Koorie Heritage Trust. It reminds us of the importance of place and learning about our city.

Heritage report Louise Honman

Urbanisation is so dependent on the provision of clean water and the removal of waste water; however, this basic necessity is often under appreciated.

The infrastructure required to move water has contributed to a remarkable engineering, architectural and landscape heritage in Victoria. In the 1850s the first water was piped to the city from Yan Yean reservoir, while in the 1890s Melbourne’s

CPD declaration from the Architects Registration Board of Victoria (ARBV) as part of the registration renewal process for architects in our state from 1 July 2019. The introduction of the ARBV requirement will assist to drive continuous improvement in architects’ skills and knowledge and increase confidence in the profession.

This is where we can help. We have an exciting new program planned for 2019 to include new initiatives such as a Gold Medal winners series, Research in Practice series as well as delivering a range of sessions covering the four competencies of the

Architects Accreditation Council of Australia (AACA).

For those in our regional areas and/or those who can’t get away from their desk, we have you covered too with monthly webinars on offer. See our events page on the Vic Chapter website to register for all upcoming events.

Our final forum was definitely topical, looking at architectural education – does it prepare you? And how do you fill the gaps? The following speakers for the affirmative: Gregory Missingham, Tim Leslie and Amiee Groundwater, were pitted against those for the negative: Charity Edwards, Rebecca Naughtin and Derek Huynh.

They provided a lively debate, which was moderated by Kosloff Architecture.

The crowd decided the winner, with the negative taking the prize.

A big thank you to all the EmAGN committee members who helped throughout the year. Thanks

to Alex Lake and Edwina Brisbane who are sadly departing – their contributions have been immense.

The announcement of the Creative Curators for the 2019 National Architecture Conference will see cochair Monique Woodward rather busy.

She will therefore step down from her role in EmAGN. It’s hard to believe that the year has passed us by – thank you to everyone who helped make 2018!

centralised sewerage system included the pumping station at Spotswood, now part of Scienceworks at Museums Victoria.

The provision of large-scale water infrastructure in the early twentieth century was also assisted by major improvements in reinforced concrete technology, resulting in many new types of structures. Among these, is the remarkable ‘bridge’ aqueduct carrying waste water over the Barwon River at Geelong. Melbourne’s water supply systems of dams, reservoirs, aqueducts and landscaped parks in the Yarra Ranges are a valued part of the state’s heritage for their contribution to the growth of the city

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as well as their intrinsic technological interest. Regional Victoria also contains many sites of water heritage including the Bairnsdale pumping station of reinforced concrete tanks from the early 1900s. Bendigo’s extensive Coliban system of gravity-fed aqueducts and reservoirs bring water from the south across the dividing range from Malmsbury.

The heritage of water infrastructure reminds us of the vital role of water in promoting urbanisation and the technological advances that assisted its storage, delivery and removal.

Chapter news —

Sustainable architecture forum Nadine Samaha Forum members have been busy lately working on the following: National Sustainable Living Festival We are delighted to announce that Peter Maddison from Maddison Architects, Grand Designs Australia and Jeremy MacLeod from Breathe Architecture will be speaking on Saturday 9 February from 12pm.

Handouts are being prepared and architects for the speed-dating

Regional practice report Kim Irons

As 2019 commences we are excited to report a sponsorship by BEC Network for the Regional Practice Forum in Victoria. The sponsorship will assist in costs associated with meeting venues and other incidentals. This is great news for the growing network of regional forums.

Student organised network for architecture – SONA Amarinda Bazeley

Looking back on the year that was, SONA would like to extend our thanks to the students, academics and professionals who have fostered our growth and encouraged us to deepen our relationships with both the profession and each other.

Our focus on mental health saw a group of 30 plus students gather

event are getting confirmed. The public will have the opportunity to talk to an architect about their household or architectural plans about how to improve sustainability.

The national festival will be in its twentieth year. The festival's Big Weekend is the main event, with an intensive program of back-to-back talks over three days and a wide range of exhibitors, presenters, and performers. The Big Weekend receives over 50,000 visitors and is held at Federation Square and Birrarung Marr.

Sustainable CPDs at the Institute

programs at the Institute focusing on sustainability, reducing and possibly eliminating gas emissions in buildings.

Indigenous ecosystem corridors and nodes Jane Toner is leading this project along with Peter Malatt with Sustainable Architecture Forum members.

Working groups with specific tasks will be organised after the next forum meeting. Professor Allan Rodger, LFRAIA, and Tony Williams, IFLA Europe President, are the joint foundation conveners.

We are organising Continuing Professional Development (CPD)

In addition to the established Ballarat, Geelong and surfcoast, Bendigo and Macedon Ranges, we are anticipating the commencement of forums in Mornington and Euroa.

Meetings often occur in locations which require a nominal fee for meeting rooms, so the sponsorship will be welcomed as value by members where travel to Melbourne for other Vic Chapter events can be prohibitive.

Further to this news, we are also initiating a Victorian Regional meeting which will bring representatives of each of the regions

together. Anticipated for February, the meeting will discuss the current format and membership profile of each, and the potential for a collective framework for all regional members, perhaps with similar provisions to regional networks in NSW and Queensland.

We look forward to an exciting 2019. As always, should you be interested in joining any of the regional forums, please contact myself or our CPD Coordinator, Renee van Trier, at the Chapter office.

to attend a SONA-facilitated open floor discussion on their experiences of mental health and architecture.

Numerous other events were held all across Australia which saw an increase of both attendees, professional volunteers and member sign-ups. One example was our Portfolio Networking Night in Victoria.

Held at Gray Puksand, close to 30 students and 30 volunteers attended for rounds of portfolio reviews. This event was so successful, that a second round was organised with close to 50 students and 50 volunteers.

Undergraduate students were hosted at SJB while Masters students were hosted at Hassell.

Through Ask an Architect we encouraged students to think deeply and genuinely about what they would like to ask and why, to think beyond the job hunt and to delve deeper into their own understanding and own relationships with architecture.

We are proud of our efforts and will continue to organise events for the year ahead to strengthen meaningful and diverse relationships between architects, students, peers and colleagues.

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Editorial —

Aqua Profonda Words by Piers Morgan

It was in the peak of a Californian summer when I made the audacious attempt to run the entire length of the Los Angeles River, from its official starting point (uncommonly precise among rivers) in Canoga Park, the full 51 miles to Long Beach, in one day. As well as a test of my endurance, I was fascinated by the idea of coming to know the infamous waterway directly, and get an experience of it as a whole, before the billion-dollar Frank Gehry—led revitalisation project began remediating its concrete banks.

The engineering projects of the nineteenth and twentieth centuries left cities worldwide with a legacy of concrete embankments where their rivers once flowed. Changing attitudes towards urban waterways mean that we now see these projects as more unfortunate than heroic. However, it is on these hard channels that we still rely. Rivers naturally change their courses every once in a while, leaving billabongs and oxbow lakes behind, and cutting new paths through the landscape. This unruly behaviour would be catastrophic in a dense metropolis, hence the necessity to fix their paths in place.

As cities grow, it is increasingly important (from a selfinterested human standpoint) that

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rivers and drainage systems function efficiently and predictably. The pressures of a rising population and climate change are contributing to more catastrophic weather events in locations where ever more people are likely to suffer them.

Concurrent to oversupply is, quizzically, the threat of water scarcity.

We watched earlier in 2018 as Cape Town moved frighteningly close to ‘Day Zero’, when the city’s dams would officially be empty and the taps would run dry, and hoped that it would never happen here. Yet how many have paused to consider why we would ever need a desalination plant, when Melbourne receives more rainfall than the city uses?1

Missing from our urban design strategies is an ecological mode of thinking, where we understand that we are part of a great, complex, interrelated system, not Master of it. Instead of viewing the water cycle as an oversized, hierarchical plumbing system, we must now appreciate the distributed and the rhizomatic nature of the aqueous environment of which we are an integral part and design our cities and buildings accordingly. The highly functional stormwater system of the future is not a great scar on the

Aqua Profonda

earth leading directly to the ocean, but a vast field of raingardens, tanks, percolators and permeables.

In this issue of Architect Victoria, we look at the ins and outs of water and waste, and the infrastructure built to deal with it. In building this issue, we assembled a collection of people who have local knowledge, dedicated research, and have through their practices developed a unique, and in some cases, radical view on the issues.

Marika Neustupny looks at the latent potential of what was formerly sewerage infrastructure, the laneways connecting backyards across Melbourne. Joseph L Griffiths presents a slice of Melbourne’s modern history, pivoting on the 1981 document, ‘The Development of the Moonee Ponds Drainage System’.

Suzannah Waldron and Sarah Hicks discuss how water influenced their competition-winning design for Lorne’s Point Grey. Ross Harding proposes a radical reconsideration of how we treat waste in cities, and what the architectural possibilities for a closed-loop system could be. Sally McPhee looks to the past, and the future, of swimming in urban rivers, including the Yarra River. Finally, Maudie Palmer discusses her ongoing interest in the Birrarung and the heritage of water in three projects.

It was a radical act that triggered the revitalisation of the Los Angeles River, when a biologist named Heather Wylie organised a renegade kayak trip down the river. In successfully traversing the serpentine regulatory system, Wylie demonstrated the watercourse was ‘navigable-in-fact’, and consequently the Army Corps of Engineers was required to enforce the Clean Water Act, and safeguard its tributaries from pollution. At the time, the river was considered by most Angelenos to be nothing more than a drain.

Perhaps we could take Wylie’s lead and make our own metaphorical kayak trip down our Yarras, our Murray-Darlings, and lead a meaningful change in attitude to our own local waterways.

Above The official start point of the Los Angeles River, the confluence of Bell Creek and Arroyo Calabasas in Canoga Park, 2017 Photo by Piers Morgan

Piers Morgan holds a Masters degree in architecture from Monash University. His projects sit on a spectrum between art and architecture. Piers' work in riparian architecture began with the River Derwent Heavy Metal Project at MONA in Hobart, where he contributed to two projects that explore pollution in the river through installations that are not quite buildings and not quite sculptures.

His Monash projects looked at flooding in Elwood and sea-level rise along the Great Ocean Road and he is beginning to notice a theme.

Piers' ongoing interest in ritual spaces is currently being explored through the medium of sound art. He feels most at home in the warm embrace of the Indian Ocean.

Vlad Doudakliev is an architect at Fieldwork with experience in highvalue and complex educational, cultural, commercial and multiresidential projects. He balances practice with research and teaching, currently leading a Masters design studio at the University of Melbourne, focused on housing affordability and challenging the paradigms of contemporary living spaces.

In making the everyday beautiful, Vlad believes that architects can inspire richer daily experiences, foster communities of people in work, home and civic environments, and demonstrate the social, economic and ecological value of a well-designed built environment.

Notes urbanwater.melbourne.vic.gov.au/melbournes-water-story/ water-use-facts/

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Article —

Laneways as water and waste infrastructure

Can laneway-as-drain still play a useful role in this scenario? Yes. Usually at least some percentage of roof area is still allowed to exit onto the laneway surface – importantly, in contrast to street drainage, the outlet point is above ground and could be at a level able to be experienced. The traditional bluestone-cobble surface is robust and waterproof. Laneways offer the chance for contemporary architects to investigate different ways to make the movement of rain and dirt through the city become visible.

Words by Marika Neustupny

Laneways and ingestion, excretion

Our underlying urban structures are founded on water and waste.

Stormwater drainage and sewerage management was the base purpose of laneways, but this now tends to be forgotten. Potential use of rear access to private properties that laneways provide has been discussed among design professionals, but generally only in terms of urban circulation. This article proposes that there is a certain wet-area quality given to the back half of private sites by the infrastructural logic of nineteenth century civil engineering in metropolitan and regional cities and townships in the State of Victoria. Understanding the specific character of laneways and backyards in relation to water and waste can help designers to take part in raising consciousness of water in daily life.

Laneways and rain, dirt Unlike the common conception of gridded cites as unrooted to the ground,1 colonial townships were laid out from the start as integrally related to landfall, rainfall and ground permeability.2 Laneways are the urban component that directed rainwater from private roofs and yards into the public drainage system.

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The telescoping typology3 of terrace houses meant water dropped from the highest roof at the front to the lowest roof at the back, onto a spoon-drained yard surface and into the carefully calibrated falls of laneway water passages towards streets and gutters.

However, the house-lane relationship no longer works in this way. The extent of built fabric has been greatly increasing from the second half of the twentieth century, as these innercity homes are renovated, extended and internalised. In an attempt to stop flooding of the lanes, most local councils have for some time required the majority of roof water to shed towards the main street and gutters, feeding directly into underroad drainage pipes. There has been a further shift in contemporary stormwater-management thinking, towards private property taking greater responsibility. Inner areas of Melbourne now require calculated amounts of private roof shed to be treated and their run slowed by installation of regulated raingardens and rainwater storage tanks.4 Not only is the effect of pollutants on the natural water system now better understood, but also the threat of flood seems more immanent as global warming increases.5

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The filigree of laneways common in this part of the world is not only a result of nineteenth century stormwater strategies however, but also largely conceived in relation to sewerage control. The most wellknown and least attractive historical function of laneways was as a passage to allow for night soil collection.

Although the earth closet outhouses and their openings onto the laneways have almost disappeared from contemporary view, the fact that major infrastructure expense was in sewer connections rather than supply water means that even now the usual house typology focuses on wet areas in the rear half of properties. Historically, this back part of private land was dominated by a tough, external yard.

Such robust space was also useful for the cacophony of productive gardens and animals that were part of daily life until not so long ago – the back gate was the main entry and exit point for not only horses (transport), but also the commonplace keeping of cows, pigs and chickens as independent food supply in a society yet to be fully industrialised. Backyards were also muddy from the single and external water supply tap at the back of the house for most properties until well into the twentieth century. Water for cooking, laundering, bathing and gardening must have been carried in buckets from the gully trap, making further sense of wet activities with associated splashing to be contained to the external yard area. Given the room-width narrowness of the

Above 'Fitzroy. Back yards of five houses.' [circa 1935] F. Oswald Barnett Collection, State Library of Victoria Nineteenth century rear yards formed the junction between everyday life and water-waste infrastructure. Laneways made possible the passage needed for animal husbandry and the strengthening of neighbourly relationships as well as for night soil collection.

standard terrace-house plots, and that all households had wet areas located externally and at similar depths of the site, one social outcome would have been audible interaction over fences, and corresponding neighbourly relations using back gates for sharing butter or developing childhood friendships. All of these aspects of historical life in relation to laneways – external ‘dunny’ out the back, animals and veggie-patches, the weight of heavy buckets, daily over-the-fence interaction over chores – have almost disappeared over the twentieth century, as gradually all water points have become piped and we now buy food transported from around the globe to shops. Although fitting out wet areas is still noted by most architects and clients as being the

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most expensive parts of any project’s construction, the cost is no longer prohibitive, and there is no doubt that locations for cooking, laundering and bathing are now determined by convenience much more than by site considerations.

Can laneway-as-passage still play a useful role in this scenario?

Yes. The typology maintains the ability to use the casual quality of wet-area work to promote social interaction.

The rears of properties have held undesirable associations with dirt, sewerage and chores for a long time, but these can be re-thought. Even if historical external wet-area work is no longer appropriate, other activities such as barbecues, productive gardening, bicycle maintenance, DIY home construction or the drying →

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Aqua Profonda

Right Immersive sensory aesthetic experience Olafur Eliasson's Smoke Room.

Above and left North Melbourne House by NMBW Architecture Studio, 2016 Photos by Peter Bennetts The large roof over a sunken room sheds its water to an exposed down pipe beside the window, so the gush of a downpour is visible from inside.

of clothes naturally can take its place. The colonial civil engineering approach has left us with the networking potential of carriage-width urban passages reaching the back of almost every inner urban property; however, this is inherently not just about quiet pedestrian or vehicle access. When contemporary laneways have been cleaned up and the back door is quite close to an asphalted roadway, it is already common to use the back access for car parking or perhaps a shed, but their use is generally limited in time and closed with respect to the community.

Instead, the base character of laneways and adjacent outhouses/ yards can be seen as social, active and wet – providing ample opportunity for contemporary design exploration.

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Two projects An example of a project that looks at these issues is North Melbourne House (NMBW Architecture Studio, 2016). This house does not see the potential of backing onto a laneway as a low-grade entry point without spatial quality. Neither is the rear regarded as a repeat of the street front condition.

The laneway facade is reminiscent of the bulk of historic sheds, stables or production spaces. A new upper-storey living/sleeping area sits over a semiexternal entry/laundry/workshop/ garage space, with stormwater storage and groundwater pump placed beside the cobblestone laneway for direct overflow discharge. The semi-external quality of this space continues from a fully external courtyard with raingarden and allows for any rain flow across the garden not captured →

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night soil collection openings night soil collection openings have been have been bricked in bricked in

rainwater drainage directly into laneway (ground water and roof rainwater drainage directly into laneway water via downpipes) (ground water and roof water via down pipes) Above Melbourne's external laneway outhouses Photos and notation by Marika Neustupny, 2017 Although originally earth closet, later water closet, now disused, almost disappeared, evidence of night soil collection openings and surface level exit of stormwater can still be found. Contemporary architecture can again highlight the movement of rainwater at the public-private interface and new wet activities such as bicycle maintenance or home joinery workshops can take the place of historical wet area work.

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Right Immersive sensory aesthetic experience Olafur Eliasson's Smoke Room.

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by the strip drain at the entry verandah to literally and conceptually run straight through the site. It also means that moving between kitchen, laundry and bathroom provides constant exposure to non-heated space, raising consciousness of the role of water-use in relation to the dry parts of the house. Semi-externalising a through-space beside the laneway makes an opportunity to bring the rugged laneway character into the property, as well as providing a setting for the detailing of experiential, open downpipes.

Another project intersecting stormwater drainage with a terracescale property and laneways can be seen in Regional Victoria, and is currently being investigated by a consultant team headed by landscape architects Aspect Studios, and including NMBW Architecture Studio.

The Victorian State Government DELWP in conjunction with the local regional council has proposed to carefully repurpose selected properties in main shopping areas as public arcade gardens, developing a new pedestrian network to interlink with existing laneways. From the point of view of an interest in water, what is radical about this idea is that when externalised, ground and roof catchment to the higher end of the site enters the property. Landscape design along the actual open-air laneways on the higher side involves downpipes and footpaths integrated with a line of drainage continuing into the building. The building becomes a container at the base of the water run, with stepped raingardens and chain downpipes from partially removed

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roofs allowing the movement of rain through the site. The potential of the project then is not only about disrupting the commercial strip with a surprising, natural light-filled public space, but also about utilising rainwater runoff on the site and in its immediate context to give semienclosed gardens to the public realm.

Conclusion Water is a limited natural resource and therefore a political issue. Its use needs to be carefully considered by architects, who are in a position to proactively influence daily water use, project by project. However, it is possible to design for water and waste within a culture as well as a politic, for example by understanding the water-based character of laneways.

Many colonial engineering projects have been irreversibly damaging to the natural environment and indigenous lifestyles, but they did provide a material and organisational system in our cities that are already in tune with how rainwater moves, and how people move in relation to water. It is possible for contemporary architects to reconnect with a water-conscious urban logic embedded in such cites.

The role of laneways has become downplayed over the course of the twentieth century, but the pressures of the twenty-first century promises the potential for attention to return to this important interface between public and private concerns.

When doing so, the latent possibilities of this space of public infrastructure turned amenity can be maximised by remembering, and each time specifically analysing, how water →

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might cross over between private use and public management. The design of even the smallest of buildings can reconsider planning and roof plumbing to take advantage of catchment parameters set up by the particular nature of the nineteenth century surveys. Whether strategically landscaping, re-externalising laundries or detailing downpipes, there are many, many ways for contemporary architects to re-engage with the inherently wet space and activity of laneways.

Marika Neustupny is a founding director of NMBW Architecture Studio. She has taught in design and urban research at RMIT University since 1995 and currently sits on the course advisory panel for the RMIT architecture program. Her PhD at the School of Architcture, University of Queensland is currently under examination. Marika has a strong interest in the social and cultural rituals of urban life; her latest research has been about the intersection of the logics of natural or constructs water courses, human after use and architectural design.

Notes 'ubiquitous as the grid has always been, it is also much misunderstood, and often treated as if it were one unmodulated idea that requires little discrimination.' Spiro Kostof, The City Shaped: Urban Patterns and Meanings through History (London: Thames & Hudson, 1991), p96

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Miles Lewis, Melbourne: The City's History and Development (Melbourne: City of Melbourne, 1995), p26 Lewis mentions the original survey of Melbourne being 'determined by the topography' several times; Gary Presland, The Place for a Village: How Nature Has Shaped the City of Melbourne (Melbourne: Museum Victoria, 2008). This publication focuses more on teasing out the qualities of Melbourne’s underlying geographical features; Marika Neustupny, Water + House: The Architectural Design of Water Infrastructure in Urban Dwellings (PhD Dissertation, University of Queensland, School of Architecture, submitted 2018). The relationship of Melbourne’s grid with natural contours and soil conditions is discussed in more detail.

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3 Nigel Bertram and Kim Halik, Division and Multiplication: Building and Inhabitation in Inner Melbourne (Melbourne: School of Architecture and Design, RMIT University, 2002). Bertram and Halik give a detailed overview of the terrace house type in Melbourne, including the idea of ‘telescoping’ outhouses.

Victorian State Government, Melbourne Planning Scheme Local Planning Policies - Clause 22.23: Stormwater Management (Water Sensitive Urban Design) (Melbourne: Department of Environment, Land, Water and Planning (DELWP), 2015)

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5 Nigel Bertram, Catherine Murphy, Rutger Pasman.

'Arden Macaulay in Transition: Four Adaptive Design Concepts for Drainage and Flood Management.' Technical Report, Cooperative Research Centre (CRC) for Water Sensitive Cities, (Melbourne: Monash Art Design and Architecture, 2017). The CRC for Water Sensitive Cities has been investigating low lying suburbs such as Elwood and Arden-McCaulay, including the potential for urbanscale flood prevention measures rather than reliance on private contributions.

6 'The biggest single task was to survey the whole of the metropolitan area, which embraced 78,000 acres and 108,000 houses, in enough detail to allow the effective connection of each house to the sewers.' Tony Dingle and Carolyn Rasmussen, Vital Connections: Melbourne and Its Board of Works 1891–1991 (Melbourne: McPhee Gibble Penguin Books, 1991), p53

The private growing of fruit and vegetables, and sometimes the keeping of chickens, has had some continuity in Melbourne over the twentieth century, particularly amongst migrant communities.

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8 Elizabeth Shove, Comfort, Cleanliness and Convenience: The Social Organisation of Normality, New Technologies / New Cultures (Oxford: Berg Publishing, 2003). Shove critiques the acceptance of convenience as determinant for attitudes towards natural resources and social life.

This laneway project has been several years in the making, with careful analysis and strategic thinking by the client group. The consultant team is composed of landscape architecture: Aspect Studios, architecture: NMBW Architecture Studio, civil/ structural/ traffic/ electrical engineering: Irwinconsult.

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Above Arcade garden, NMBW Architecture Studio, Aspect Studios, Irwinconsult, 2018 Drawing by NMBW Architecture Studio The client aspiration of multiplying pedestrian utility in a regional township by introducing arcade gardens into the urban fabric can also highlight the passage of rainwater. Road runoff is surface-channeled into a series of planters, meeting up with chain downpipes and culminating in a basement fernery. Laneway connections offer opportunity for watering of greenery and cleansing of waste, with varying relationship of vegetation to hand and eye level, for people sitting or standing.

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‘These 400 flickering pages detail the brutal economy of engineering that has transformed the creek-bed into a vast concrete channel, designed to drain suburban life. In places there is more litter than water.

The trapezoidal channels, the stepped weir structures, service ramps, precast headwalls, pipes and retarding basins are simultaneously barbaric and elegantly streamlined. It is a system to get rid of water in a country that can’t afford to get rid of water.’1

Reading the Moonee Ponds Creek Words by Joseph L Griffiths

A copy of 'The Development of the Moonee Ponds Drainage System' (1981) was loaned to me by Tony Smith.

Engineering diagrams, maps, and badly degraded photos of the Moonee Ponds Creek ripple in the headwind as I walk along the gravel track. How he acquired the unpublished report remains his secret. Tony is a complex systems analyst, urban planning dilettante, and Friend of Moonee Ponds Creek. He is a member of countless committees and community groups who attends everything. He is dedicated to a holistic understanding

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of the infrastructures and ecologies that shape urban life. Like many of the 'friends', his personal story is entwined with the meandering story of the creek. His childhood home on Moonee Street, was one of those bulldozed to accommodate the Tullamarine freeway.2

Today he is campaigning against the proposed 'westerndistributor' arterial, while developing a visionary proposal to combat sealevel rise. The other Tony Smith was an American architect and sculptor, whose mythic joyride along an →

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unfinished section of the New Jersey Turnpike inspired a new vision of art as the irreducible experience of place.3 His monumental structures resemble maquettes for the cheesestick; the infamous public artwork that welcomes you through the Melbourne Gateway where the Moonee Ponds Creek, Tullamarine Freeway and Flemington Bridge converge. The shared vernacular of robust geometric sculpture, freeway pylons and hardlined creek channel, produce an echo chamber here, where distinctions between engineering, art and urban form are barely audible.

A neighbour of ours used to refer to the concrete channel as the Aqueduct. It is a far cry from Rome, but as Robert Smithson pointed out, such engineered structures are indeed fragments of an Eternal City.4 The crumbling environment

feels like an archaeological site, strangely suspended in the present.

Its precast forms are mysterious but legible, describing historical attitudes to nature and the downstream effects of our suburban dream. Nick Papdimitriou calls them 'storage vats of regional memory', brimming with the lived histories and experiences that have played out here.5

For me, these structures symbolise a homecoming, but to many they signify disappearance and dispossession. Audrey Biggs has spent 87 years on the Moonee Ponds Creek. She started the Brunswick South-West Planters, one of the many community groups who have worked hard to re-vegetate the creek’s riparian environment since their campaigns to stop the widening of the Tullamarine Freeway fell on deaf ears.6 The constant whirr of speeding commuters

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and screeching trucks rattle her kitchen windows. She’s proud of the arched canopy the group has reinstated along a few of the meanders that survived the great re-alignments.

'I was dragged along begrudgingly to help at age eight.' She remembers catching yabbies and tadpoles here as a child, her husband-to-be paddling a tin boat around the chain of large ponds that swelled at regular points, linked together by an intermittent stream that trickled between stepping stones. My grandfather and his mates learned to swim in them in the late 1920s, after our family of bricklayers moved in and helped pave the hilly paddocks of West Brunswick into an impermeable basin. As Melbourne sprawled northward, the valley formed a new urban crust, bedding roots of water, sewage and drainage pipes that clawed through the alluvial silt

Left Fountains for Moonee Ponds Creek project courtesy Joseph L Griffiths

like couch grass. As these quarteracre blocks are being sold, cleared, subdivided, and re-developed, Anna Lanigan laments the habitat-loss. She documents the changing ecology of the catchment, recording the voices of frogs and collecting bird data, measuring the population changes, and furiously planting. She dreams of restoring the creek in keeping with indigenous knowledge and the earliest botanical surveys, which offer a glimpse into this ecosystem at the time of colonisation, when the damage first started.7 Like all the lands of the eastern Kulin Nation it has been irrevocably transformed since European settlement.8 In the nineteenth century, the Moonee Ponds Creek’s lower reaches were dredged and 'disciplined' to accommodate barges and expedite new flows of trade and capital between the port of Melbourne and industries upstream.9 The encroaching city produced huge increases in runoff, flooding and erosion, which have plagued the creek ever since. Nevertheless, this resilient ecosystem continues to mutate and adapt to the trauma of urbanisation.10

Kelvin Thomson started the Friends of Moonee Ponds Creek in 1989 out of a passion for the local environment, determined to wind back the desertification of the north-western suburbs.11 The friends have fought to maintain the value of watercourses as wildlife corridors and public spaces. Kelvin detailed

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to me the countless submissions, deputations and political advocacy undertaken in those early years.

He explains how the Strathmore Progress Association before them had successfully halted the concrete lining of the creek north of their local primary school.12 As he talks, I imagine the sodium lights of the newly opened Tullamarine Freeway, strobing through the tinted car windows, the haze of cigarette smoke completing the now retro-futurist image of a city already late to the modern age. By 1981, the Melbourne Metropolitan Board of Works, the urban infrastructure leviathan responsible for transforming the creek, had already flagged other creek valleys in inner Melbourne as freeway reservations.13 'Friends of' groups swelled in numerous catchments to protect their creeks from the plight of the Moonee Ponds Creek.14

On rainy days, the old bluestone gutter at the foot of Union Street becomes a waterfall, cascading down to the creek over a rare natural escarpment, spared for its geological significance. I’ve been told kids used to find fossils there. It’s an eerie and magical spot, wedged in beside the Brunswick Road off-ramp. Once a shooting range, the site is highlighted in the many studies of the catchment conducted since 1981, yet rarely amount to action. The graffiti at this point reads, 'Meditate here'. If our waterways are to thrive, it must be →

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as rich cultural ecologies interwoven with the meanings of human use and local symbolic attachment.15 Catchment-wide collaboration is the new administrative term for listening to the locals – a practice that is beginning to hold water. The most recent masterplan has been a genuinely collaborative effort involving Melbourne, Moreland, Moonee Valley and Hume City councils, Melbourne Water and numerous community stakeholders. It is founded upon the local knowledge of The Friends of Moonee Ponds Creek. They are determined to ensure that what was once known as the Moonee Moonee Chain of Ponds is not reduced to a dog-eared chain of masterplans.

Joseph L Griffiths is an artist, researcher and member of the Friends of Moonee Ponds Creek. His recent project Fountains for Moonee Ponds Creek, transformed the concrete drainage channel into a monumental fountain, punctuating a space for public reflection and community exchange. Many thanks are due to Audrey Biggs, Tony Smith, Kelvin Thomson, Marcus Lancaster and Anna Lanigan for sharing their deep local knowledge of the creek and their unending commitment to its value and care.

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Notes Tony Smith in conversation with the author, recorded Friday 24 August 2018 and transcribed in Griffiths, J. 'Appendix E: Fountains for Moonee Ponds Creek', p50, Development of the Moonee Ponds Creek Drainage System, MMBW-D-0028, 1981(reproduced 2018)

1

2

Stuart Oliver describes the engineering of the River Thames as a process of ‘disciplining’ – withholding and channelling its flows, to behave in accordance with human needs and desires. See Stuart Oliver, 'The Desire to Metabolise Nature – Edward Loveden Loveden, Wiiliam Vanderstegen, and the Disciplining of the River Thames' in Nick Heynen, Maria Kaika and Erik Swyngedouw (Eds.), The Nature of Cities – Urban political Ecology and the Politics of Urban Metabolism. Routledge, New York, 2006, p94 9

Ibid.

Tony Smith, 'Talking with Tony Smith', interview with Samuel J Wagstaff Jr, Artforum, December, 1966. It is noteable that both Robert Smithson and Tony Smith were responding to the suburban development of New Jersey in the post-war period. Transport engineers from the Melbourne and Metropolitan Board of Works were sent to California at the same time to study the new freeway system in Los Angeles, bringing their findings back to inform such projects as the Tullamarine Freeway 3

Robert Smithson, 'A Tour of the Monuments of Passaic, New Jersey' in Flam, Jack (Ed.) Robert Smithson: The Collected Writings, University of California Press, Berkley and Los Angeles, California, 1996, pp68—74

4

5 Nick Papdimitriou returns frequently to this idea and gives two examples in Deep Typography with Nick Papdimitriou, available at www.youtube.com/ watch?reload=9&v=UnW1XDo7usI 6 Audrey Biggs in conversation with the author, recorded Friday 31 August 2018 and transcribed in Griffiths, J. “Appendix E: Fountains for Moonee Ponds Creek”, p50, Development of the Moonee Ponds Creek Drainage System, MMBW-D-0028, 1981 (reproduced 2018)

Anna Lanigan in conversation with the author, recorded Saturday 8 September, 2018 and transcribed in Griffiths, J. 'Appendix E: Fountains for Moonee Ponds Creek', p.

72, Development of the Moonee Ponds Creek Drainage System, MMBW-D-0028, 1981 (reproduced 2018)

7

8 Gary Presland, First People: The Eastern Kulin of Melbourne, Port Phillip & Central Victoria, Museum Victoria Publishing, Melbourne, 2010, p9

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10 Anna Lanigan in conversation with the author, recorded Saturday 8 September, 2018 and transcribed in Griffiths, J. 'Appendix E: Fountains for Moonee Ponds Creek', p72, Development of the Moonee Ponds Creek Drainage System', MMBW-D-0028, 1981(reproduced 2018)

Kelvin Thomson in conversation with the author, recorded Wednesday 29 August 2018, and transcribed in Griffiths, J. “Appendix E: Fountains for Moonee Ponds Creek”, pp 38-9, Development of the Moonee Ponds Creek Drainage System, MMBW-D-0028, 1981 (reproduced 2018)

11

12

Ibid.

Marcus Lancaster in conversation with the author, recorded Wednesday 29 August 2018, and transcribed in Griffiths, J. 'Appendix E: Fountains for Moonee Ponds Creek', The Development of the Moonee Ponds Creek Drainage System, MMBW-D-0028, 1981 (reproduced 2018) 13

14

Ibid.

Stuart Oliver, 'The Desire to Metabolise Nature – Edward Loveden Loveden, Wiiliam Vanderstegen, and the Disciplining of the River Thames' in Nick Heynen, Maria Kaika and Erik Swyngedouw (Eds.), The Nature of Cities – Urban political Ecology and the Politics of Urban Metabolism. Routledge, New York, 2006, p94 15

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Above Point Grey context mapping by Searle x Waldron + Bush Projects

POST-COLONIAL HISTORY

Rising tides Words by Sarah Hicks and Suzannah Waldron

A gradual awareness of life conditions in the anthropocene is beginning to filter through to influence the planning of future development in Australia.

Often, necessary action is spurred by an occasional dramatic scenario – an emergency that suggests the realities of climate change, looming large ahead. As planning policy adapts in response to this cultural shift, architecture and design practice has a responsibility to address the long-term future of projects and investigate new

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modes of practice that align with our changing values and projected future landscape scenarios.

Within the context of the coastal fringe, an encroaching sea level introduces a complexity to development that demands an extensive process of collaboration and consultation in order to achieve sustainable, long-term outcomes.

While the anticipated sea level rise is currently under debate, a shift between 1.1 to 2.7 metres by →

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2100 will have a vast impact on the future of our coastal communities and must be addressed within the delivery of all future developments.

Given that approximately 85 per cent of the population in Australia live within 50 kilometres of the coast, the consequences of sea level rise will significantly impact urban areas, though preparations can’t be made in isolation. While coastal developments must engage specifically with the dynamics of encroaching sea levels, the forecast also provides further impetus to address broader issues relating to climate change; overall environmental impacts of a development should be understood as having a direct correlation to the broader symptoms of climate change, including sea level rise.

Following the recent release of the report by the Intergovernmental Panel on Climate Change, it has become apparent that drastic change is required and benchmarks for sustainable development should respond and adapt accordingly.

Tensions between sustainability, cost, maintenance and planning overlays, need to be negotiated

in mediation with the client and various stakeholders – education and precedents are key tools within this process. Design decisions relating to material selections and landscape performance require a new level of interrogation. Updated planning policies would further (and more effectively) enforce the prioritisation of sustainable and adaptable outcomes within development.

The Point Grey, Lorne redevelopment is a project for the Great Ocean Road Coast Committee.

The design competition stage was won by Searle x Waldron Architecture and Bush Projects in collaboration with Edwards Moore Projects. The winning project brief for the Point Grey Precinct required the implementation of coastal protection measures, alongside inbuilt planning and adaptation responding to climate change. Following a process of consultation and research (including use of public mapping tools such as Coastal Risk Australia), the landscape design has incorporated extended sea walling to address erosion at the perimeter of the site, while allocating zones of dune stabilisation via

Above Point Grey Beacon view

by Searle x Waldron + Bush Projects

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extensive revegetation. The landscape response has taken measures to address environmental impacts through the incorporation of dense areas of vegetation/biomass, swales/ raingardens, enabling biofiltration of stormwater runoff, the incorporation of pervious surfaces and the specification of renewable or recycled materials where possible. In terms of flooding within the built environment, water mitigation is largely shaped by stormwater treatment and management. Water Sensitive Urban Design strategies are an effective tool in addressing rising water levels.

Point Grey project synopsis

The landscape strategy emphasises the connection between local bushland, coastal dunes and the shoreline. The material and plant selection are intended to evoke the coastal woodland and dunes of the underlying landscape, while initiating a process of restoration and remediation. Recognising the site as a highly specific situation, with a distinct history and context, a predominantly indigenous plant palette seeks to

reflect the pre-existing coastal landscape and sensitive dune ecology and increase local biodiversity; species have been selected for ongoing cultural significance, site usage and amenity.

Tidal flux

The landscape emphasises the notion of tidal flux, as a means of organising the underlying structure of the site.

Devised as a series of incremental tidal drifts, different zones are registered in changes to surface material and correspond to fluctuations in seasonal occupation and event. The overall site is defined by a series of zones that relate the shoreline to the existing topography in a receding sequence which expands to accommodate a shifting tidal flux of public use. Each zone is defined by changes in surface and vegetation, establishing an ongoing intimacy of scale throughout the seasons of year, while also retaining capacity for large scale public events.

Occupation and use

Throughout the site the lines between the public and private are indistinct, both expanding and enriching the other.

Publicly accessible spaces respond to seasonal requirements allowing for shelter, gathering and enclosure all year round. The broader landscape response accommodates passive and active recreation and guides exploration and congregation through the use of material and vegetation.

In a playful reference to the historic tram lines, seating elements can be shifted and connected to adapt to various social situations, events and spatial requirements.

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Sarah Hicks is a director of Bush Projects, the practice is a cross disciplinary public art and landscape architecture studio, comprising of a team of artists and AILAregistered landscape architects.

The practice investigates the way people experience and interact with landscape focusing on human occupation, ecological processes and aesthetic consequences.

Suzannah Waldron is a director of Searle x Waldron, an architecture practice focused on innovative civic, community and education projects.

The studio has been awarded for its work on both large-scale international competitions and small-scale local public projects. Applying the same design ambition across varying scales, SXWA consider how projects both small and large can transform wider contexts.

Notes A matter of time: Design in the age of sea level rise, Foreground Article, July 12, 2017

1

2 www.un.org/depts/los/consultative_process/icp18_ presentations/barrett.pdf

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Wasted feelings Words by Ross Harding

Above Marysville recovery continues to struggle Photograph by Robert Stent

Left bin3 by Tony Laterza

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Last week in LA at a Japanese listening bar whispering over a brown rice tea, my friend told me about the time her step father, Buster White, met Buckminster Fuller. He asked, ‘What’s the solution to pollution?’ to which Bucky responded ‘That’s a lot of valuable chemistry in the wrong place.’ This got me thinking about how 50 per cent of a city’s waste is organic waste. A lot of valuable chemistry going to landfill. There’s an incredible opportunity for architecture to help solve this problem.

One third of global food production is wasted. Seventy per cent of the global population will live in cities by 2050. Cities produce 1.3 billion tonnes of solid waste annually, half of which is organic. This is expected to double by 2025. Cities aggregate biological materials and

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return few to the agricultural system.

Land degradation affects roughly one quarter of land globally and costs USD 40 billion per year.

As someone that focuses on objectively investigating the most costeffective environmental solutions for architecture and cities, it’s fascinating to observe how subjective the decision-making process is. Reports, research, and consultancy is often ignored. Instead, projects chase rating systems and rarely provide significant real world results, particularly for operational waste.

It’s a ridiculously exciting time in history in terms of how we consume resources, a turning point in civilisation. Transitioning from finite to infinite resources, the transition will happen at a city scale not a national scale. Architecture has a significant→

‘Architecture could connect humans with food waste, transforming that waste product into extremely valuable resources with extremely valuable by-products.’

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Left Anaerobic digestion facility in Perris, CA by CR&R Environmental Photo courtesy CR&R Environmental The facility creates renewable natural gas from green waste to fuel its fleet statewide via the natural gas pipeline.

role to play, because it’s not just a technical solution, the solution is a human one.

Food and waste is a key component of this transition. Currently organic matter is part of a linear system. We use chemical fertilisers to grow our food, eat one third of what we produce, wrap waste in plastic, mix it with other waste and produce emissions from transporting it. At landfill it then produces methane which is 28—40 times more damaging than carbon dioxide. There is a better way.

Organic waste treatment in buildings hasn’t changed much in the last hundred years. Our building designs have only evolved to store waste, where that waste goes after is not the responsibility of the designer.

Or is it?

There are many ways to deal with waste in buildings. Separation.

Worm farms. Compost. Compactors.

Waste to energy. This can require space, capital and maintenance to deal with it and isn’t easy to justify selling that extra cost on to the consumer. Unless it was an investment with a promising return.

Carbon emissions? Payback periods? Logic? Financial viability?

Who cares? It still doesn’t feel good.

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Maybe we need a way to pleasure people with waste to see some action?

Or maybe design could be the vehicle to create a new normal?

We’ve been hiding from food waste for decades. We escape it by throwing it in a plastic bag and paying someone to remove it. How could architecture change this feeling of food waste?

What if there was a way to treat this organic waste in cities?

Within the city, closing the organic loop in the city, a circular system, within our buildings... There is. It’s called an anaerobic digestor (AD). It’s a big mechanical stomach. You put food in it, starve it from oxygen, warm it up, stir it around, add some bacteria and then you get biogas and fertiliser as an output. Biogas can be used to produce heat and electricity.

Today there are between six and eight million family-sized AD units being used around the world. In China, India, Denmark and Germany, hundreds of more sophisticated systems generating electricity and heat are in operation, some of which have been for over 20 years. Most installations are on farms, not in urban areas, largely due to the smell – though it is not more than any normal →

Left Löyly public sauna by Avanto Architects Photo by Kuvatoimisto Kuvio Situated less than two kilometres from the centre of Helsinki, the building uses district heating and electricity is eco-certified wind and solar power.

It is the first FSC-certified building in Finland and the second in Scandinavia. The restaurant serves organic food and sustainably caught fish.

bin room. We can design to solve that minor barrier.

Architecture could be a vehicle to change this. Architecture could connect humans with food waste, transforming that waste product into extremely valuable resources with extremely valuable by-products.

Melbourne produces enough food waste to fill the Eureka Tower more than five times every year. We’ve estimated it costs about AUD 58 million annually to dispose of that waste and it produces the equivalent carbon to 300,000 cars. Alternatively, we could take that valuable chemistry and produce enough gas to fuel almost 90 per cent of all PTV metro buses.

Another option is to generate AUD 32 million worth of electricity and AUD 16 million worth of heat, every year. The payback period on these systems tends to be in a range of two to five years depending on the project. The smallest digestor that is financially viable currently is about 10 tonnes per day, requiring the equivalent area of 15 parking spaces.

We could locate about 20 smaller-scale anaerobic digestors across the city, or one big one, to deal with all of the food waste in the CBD. Rather than continue to hide it away, let’s make it public to celebrate it, public works of art. Biogas inflatable sculptures. Waste heat public spas, saunas and pools. Fertiliser could be used for public parks or urban farming. Waste could be exposed and celebrated.

Along with consulting, we organise an annual festival and conference called Off the Grid. The next Off the Grid will be powered by food waste as a demonstration project.

The City of Melbourne are exploring the technology. We are also working with Monash University on their zerowaste strategy and they are actively purposing anaerobic digestion. The City of Sydney has been working on this for some time and have faced regulatory barriers. It won’t be long until this technology is common place in cities. One way of speeding this transition up is for the public sector and private sector to work together,

Architect Victoria

not to simply give the people what they want, but to show the people what they need.

Architecture can’t simply ignore its inputs and outputs anymore.

It is the responsibility of the designer to minimise the inputs and outputs from the building. The nautical, automotive and aerospace industries do it, why is architecture different? We live in a system and for it to function long-term we need to consider all of the components and allow them to operate in harmony with each other.

In 2030, looking back, what will we think? I’d say we’ll be laughing at ourselves for throwing away such a valuable resource. Organic food waste is a lot of valuable chemistry we are missing out on. Let’s design a new normal. And most importantly, let's make it feel good.

Ross Harding is a creative sustainability professional with an academic background in engineering and finance. He provides sustainability advice and cost/benefit analysis on architectural projects ranging from houses to city-wide masterplans and ski resorts. Architecture firms include internationally recognised firms such as Foster + Partners, Ateliers Jean Nouvel, Adjaye Associates and Grimshaw Architects. Ross has lived and worked as a consultant in Sydney, Melbourne, London, Stockholm, Mexico and Berlin. Acknowledging that the barriers to transform cities to become self-sufficient is as much about technology and finance as it is people, Ross started to focus on creative communications. Since then, Ross and his team have worked on creative sustainability initiatives ranging from solar powered events with Vivienne Westwood in London to sustainability road trips and film making with Design Hotels in Germany.

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Urban wild swimming Words by Sally McPhee

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Urban wild swimming has been having a bit of a moment for a few years now, with stories of cities from Boston to Berlin hoping to return swimming and bathing to their local rivers and waterfronts. Urban wild swimming (adapted from ‘wild swimming’, meaning swimming in natural water bodies) is often described as a way to

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experience and connect to nature in the city. But suggesting swimming in the city section of Melbourne’s Yarra River can be the gateway to some interesting conversations: incredulous laughter; lively discussion about pollution, risk and fear; stories of death and danger; a quick lesson in the horrors of E. coli induced illness;

Left Lieutenant A. M. Dennis and sergeant D. Lawson, members of the Australian Womens Army Service (AWAS), take part in the 1943 swimming parade in the Yarra River. Photo courtesy War Memorial collection

even accusations of recklessness and irresponsibility. It can make a person wonder, when did the idea of a dip in the river become so radical?

Persevere with such conversations and you’ll find it leads to just as interesting questions – you know, the big ones: of our complex relationship with nature and how this relationship plays out in cities; of the seemingly insurmountable impact of the way we live on the things we love; of the commons and the right to public space. The type of questions that feel right to be asking right now, the kind of conversations we should be having.

But whose job is it to make urban wild swimming possible?

Throughout Melbourne’s history several political parties have used 'swimmablity' as shorthand for a clean river. Most recently, the Victorian Greens announced their support for a swimmable city section of the Yarra River and an associated riverside pool project championed by community action group, Yarra Swim Co (and

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the affiliated Yarra Pools). Yarra Swim Co have been advocating for a return to swimming to the Yarra’s city section for a number of years, rallying stakeholder groups and cementing the idea in the public consciousness.

They’re part of the growing global movement to return swimming to urban waterways, a movement led by citizens. It’s illegal to swim in many urban waterways, even though they were once popular (and often, the only) spots to swim. Swimmer numbers declined as of pollution, disease and drowning saw a downturn in urban swimming’s popularity and legality. Many involved in the urban wild swimming movement are advocating for something they have not experienced in their lifetime, at least in their own cities.

The idea of returning river swimming to cities, of reinstating it as a recreational practice, is an important one. It’s a key part of Yarra Swim Co’s message. The group originally aimed to relaunch the Race to Princes Bridge in 2017, a once hugely popular →

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Right Returning swimming to urban centres The newly released design for Yarra Pools, created by WOWOWA Architecture, 2018. Photo courtesy of WOWOWA Architecture and the National Gallery of Victoria

three-mile event which ran from 1917 to 1964. But you didn’t miss anything – there was no race in 2017. After extensive community consultation, they’ve realigned their goals around the establishment of a riverside pool by 2020, proposing Enterprize Park as a location. The pool is part of a three-pronged strategy to move from an accessible river, to an activated river (the pool), to a swimmable river by 2030. Their message remains clear, we do not accept the idea of an un-swimmable river. We want healthy, thriving waterways. And there are social practices and traditions that we want back too.

Decades of environmental degradation will take time to undo, changing hearts and minds may take even longer. We have all grown up with cautionary tales of the dangers lurking beyond the riverbank. This is not peculiar to Melbourne: even Copenhagen Harbour, home to some of the most beautiful and lauded examples of public urban swimming provision, was once written off as a sewer. Years of coordinated effort went into returning it to a thriving waterway. Highlighting the benefits to people of a clean harbour proved to be an effective instrument to instigate change and measure water quality.

Both Copenhagen and Yarra Pools’ proposals provide a meetyou-halfway approach to navigating the challenges of swimmable urban waterways. New York, Boston, Berlin,

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Paris, London and Helsinki have all developed similar pool-based proposals and projects. Sometimes they filter the surrounding water via wetlands or high-tech membranes, giving back to the ecosystem they inhabit. These structures place us near the river, but contain us, keep us safe from the wildness of nature. Some wild swimming purists may construe them as a sign of defeat, an unnecessary overlay of human intervention and control that distracts from the real goals of public access and healthy waterways. But designated swimming and bathing areas were once dotted along the Yarra. In response to a sobering number of drowning deaths, these spaces provide safer supervised places to swim. Offering similar facilities now remains a reasonable response to legitimate concerns. And perhaps it’s a stepping stone, and a win when it comes to staking public claim over the river and riverfront, and clawing back some of the nature we’ve lost. Moving from ‘swimming’ to ‘a swimming pool’ commands focus; an idea becomes a thing, something relatable and tangible to talk about.

Last summer, Yarra Pools hosted a conversation at MPavilion: ‘Towards a Swimmable, Livable Yarra’.

We were drawn in to conversations about what the Yarra means to us and what a riverside pool could be: a meeting place, a tourist attraction, a public space, an active instrument in river restoration. There were

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government people, there were experts, but mostly there were ordinary people trying to make their backyard just a bit better. It felt like maybe this was a moment, a turning point in the decades-long effort to change perceptions about the Yarra River and a realisation that it’s our job to make urban wild swimming possible. The day culminated in a chance to vote on a series of possible pool design concepts generated by RMIT University students working with project partners WOWOWA Architecture and Arup. Voting was serious business.

Debates and discussions could be overheard, but the shared excitement over our collective imagined future was palpable. Sure, the designs were ambitious, sometimes fanciful, but rather than think ‘As if!’, we were wondering aloud ‘What if?’ What if this were a reality? What would that say about us?’

Sally McPhee's research into urban wild swimming is based on her honours thesis for RMIT University’s Bachelor degree in urban and regional planning.

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Three Birrarung projects Words by Piers Morgan with Maudie Palmer

If you were to take a boat trip from the upper reaches of the Birrarung (or Yarra River) along its meandering path out to its mouth in Port Phillip Bay, you would be able to visit a great deal of Victoria’s cultural and historical landmarks along the way, which demonstrate the river’s significance as a gathering place not only in recent history, but extending deep into Australia’s pre-European past. Of the numerous artworks and cultural institutions you visited on your boat ride, you would find that a significant number of them have been instituted, managed, or preserved by Maudie Palmer, from TarraWarra Museum of Art in Healesville, right out to the Webb Bridge in Docklands. I sat down with Maudie to discuss her ongoing interest in the Birrarung.

Driving along the CityLink through Burnley it’s easy to mistake Herring Island for simply the opposite bank. The only island in the Yarra River was created in 1928 when a flood diversion channel cut a shortcut through a bend in the river, and much of its landmass comes from silt dredged from the river as part of further flood mitigation efforts. It was taken over in the 1950s by the Scouts, but abandoned in the 1970s and left to the weeds. Restoration work began

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in the 1980s by the Friends of Herring Island, planting native bush and removing invasive species. The 1997 Melbourne Festival gave Palmer an opportunity to establish a sculpture park and gallery on the island.

She comments, 'I was asked by Parks Victoria to provide something of interest at Herring Island that would inspire people to visit. I developed the idea for an environmental sculpture park, using materials like wood and stone, that would complement the landscape. My theory was that if the sculptures could only be seen isolated from each other, they would enhance the mysterious wildness of the island.'

Gregory Burgess provided the design for the adaptation of the dilapidated old Scout hall into a permanent gallery, and artists Andy Goldsworthy, Julie Collins, John Davis, Ellen José, Jill Peck, John Gollings and Sam Slicer, Robert Jacks and Robert Bridgewater contributed site-specific sculptures for the Melbourne Festival from 1997 to 1999. It took 70-odd years for the island to be rehabilitated from an infrastructure afterthought and dumping ground, to a beautiful refuge for native plants, birds, art, and city-weary Melburnians. The

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gallery still holds regular events, the latest exhibition by contemporary artist Aaron C Carter, comprising watercolors and sculptures reflecting his impressions of the island.

Further up the river in Eltham, along the stretch of river named Garambi Baan (or Laughing Waters), lie a series of houses designed by Alistair Knox set in landscapes by Gordon Ford. The houses are constructed in Knox’s typical manner of mudbrick taken from earth on site, as well as reclaimed timber from various sources. The buildings appear to be born from the land on which they sit, and their subdued tones blend into the rugged, natural style gardens that surround them. One of these houses, the Boomerang House, was never finished, and currently sits closed to the public. Palmer is currently working with a small group of individuals including architect Peter Elliott, curator Annette Warner and artists Eugene Howard and Jo Mott on a proposal to restore Boomerang House following Knox’s original design, and provide it as a space for artist-inresidence programs. This will build upon the work already undertaken by Residency Projects in the area.

These houses built (in the beginning of the 1970s), on the bank of the river, a stone’s throw from the Wurundjeri people’s Birrarung Eel (Iuk) traps constructed thousands of years ago, have a powerful sense of belonging and of Australianness.

Back downstream in Bulleen, right near the familiar site of Heide Museum of Modern Art (where Palmer was Inaugural Director), is the land where the proposed NorthEast Link tunnel will surface. This particular stretch of the Yarra is host to an unusually dense cluster of Melbourne’s architectural and cultural history. It is where the Wurrundjeri people first gathered at Bolin Bolin Billabong, it is where Banyule House (1849), the Viewbank Silos (cica 1930s) are sited, it is where the Australian impressionists (the Heidelberg School) painted and of course Heide I and II (circa 1880s and 1967, respectively)

Below Boomerang House by Alistair Knox courtesy State Library of Victoria

where John and Sunday Reed lived and hosted some of the modernist period’s most significant Australian artists. All are within walking distance.

Sidney Nolan painted his iconic Ned Kelly series in the dining room of the original Heide I farmhouse and David McGlashion designed the award winning Heide II. The scar tree Yingbeal stands in the park there, at the intersection of five traditional Wurundjeri songline routes, as it has for 600 or 700 years – Yingbeal is one

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of three scar trees in the area. And it is believed the river, due to its bends and eddies, is home to more platypus than anywhere else in the Yarra.

Palmer’s proposal is to intercept the works planned for the North-East Link, and channel some of the energy into creating the Birrarung Cultural Precinct, that will celebrate the river and the land of the Wurundjeri people. It will incorporate a trail close to the river, a pedestrian bridge and a welcoming place for →

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Interview —

visitors where artists can work, that would connect these significant sites, and join them in a story that will continue the mythology of this very special part of the Birrarung into the future.

Palmer suggests that this would allow the sites 'to come together, and be harnessed by contemporary artists, architects, and landscape architects. To provide an incredible linear park along the Birrarung, which would be natural, with indigenous planting that will enhance the work already begun by various groups in partnership with the Wurundjeri Land Council … We should all be thinking about how the landscape is going to change, how we need to preserve the beauty of nature,

and how future generations are still going to have to draw inspiration from the landscape. We should be thinking about the unique significance of this site, how all of the cultural activities focused here are due to the Birrarung and how we can celebrate everything together, to not only enrich our cultural lives but those of generations to come.'

Maudie Palmer is currently Art Curator at TarraWarra Museum of Art in Healesville. She was the Inaugural Director of Heide Museum of Modern Art, opening the grounds to the public in 1981.

Above Marysville recovery continues to struggle Photograph by Robert Stent

Left Yingabeal at Heide, a scar tree estimated to be 600—700 years old, stands at the confluence of five ancient songline paths Photo by Piers Morgan Right Sidney Nolan and Sunday Reed in the Yarra at Heide, 1945. Photo by Albert Tucker, State Library of Victoria

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Architect Victoria

Slice —

New projects Words by Laura Held

Project 1 Plus Architecture

Project 2 Nettletontribe

Gardin, 7 Gardiner Road Hawthorn

Waratah Place Student Residence, Deakin University

Based on an underlying concept of tree houses and drawing inspiration from the canopy of the trees in the reserve opposite, the four luxury townhouses are nestled into the small, steep south-facing site. The slightly staggered design serves to punctuate the visual bulk of the structures while also allowing for enhanced privacy for both residents and neighbours.

Gardin’s design respects and enhances the neighbouring urban fabric through scale, materiality and heritage. The masonry aesthetic echoes the prominent art deco architecture popular throughout the area. Inside, each room features meticulously detailed joinery and finishes. Oak floorboards provide a generous feeling of space and light, aided by floor-to-ceiling glazing.

The townhouses incorporate a range of environmental design responses, such as considered fenestration and glazing allowing for cross-ventilation and an abundance of natural light, rainwater tanks for redistribution of water for irrigation, and solar hot water.

The new student residence at Deakin University draws inspiration from the native vegetation along Gardiner’s Creek and was conceived as a building nesting in the landscape.

Sited on the edge of a major water course proved a challenge for flood management, but also became an opportunity for extensive landscaping. Its lineal building form provides a strength of character and containment from the open space, while a stepped form punctuated with large gaps responds to the topography.

Activity platforms, circle voids and bridges provide a panoramic outlook, visual and physical connectivity to the established student residences precinct encourages interaction and hosts social activities. Mirrored stainless-steel finishes clad the external lift core at the building entry, creating focal points that celebrate the architecture, surrounding nature, and the student community equally.

Photographer Jaime Diaz-Berrio

Photographer Chris Matterson

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Project 3 Gray Puksand

Project 4 Clarke Hopkins Clarke

VicRoads, Melbourne

Newport Women’s Housing

Located on an island site which is a short walk from Sunshine Railway Station, this seven-level office building stands proud in a predominantly low-rise retail strip and is a catalyst for redevelopment of the precinct.

Inspired by a circuit board, the sculptural facade is designed to be viewed from all aspects and responds to the Brimbank City Council’s desire for pedestrian activation at Clarke and Withers streets at either end of the lengthy site. Gum trees that would have been in the area prior to the development of Sunshine as a residential and industrial neighbourhood, inspired the colour selections for the powder-coated sunshades.

By providing a more pedestrian friendly environment around the VicRoads building, and a green corner which obscures the service needs of the site, this development sets the benchmark for the future evolution of this vibrant western suburb.

Created to house women and children at risk, the design required careful planning to ensure the building fit seamlessly within the existing streetscape and maximised available space to include as many apartments and residents as possible. This was achieved through a recessed third level roof formation and centralised entry, so that the building appears as two large two-storey town homes from the street.

The twenty apartments are spacious, modern and have the look and feel of a traditional family home, while providing housing that is affordable.

Through the careful selection of materials, finishes and sustainable initiatives, living costs for residents were lowered. These included ceiling fans within living and bedroom areas, gas appliances where possible for heating and hot water, a minimum 6-star energy rating, and the use of raingardens and water re-use.

Photographer Tatjana Plitt

Photographer Jeremy Wright

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Profile —

Michael McManus of McManus Lew Architects Words by Elizabeth Campbell

Michael McManus, of McManus Lew Architects is interested in the personal relationships that are created before, during and after a project is completed. He believes nurturing positive relationships during this time assists in championing the architecture industry – not only because a happy client can often lead to potential referrals, but also because a client who has been involved with their project has an understanding of the breadth of services architects provide.

Michael started his career working for Clare Cousins, he then moved to ARM Architecture and finally worked at Kennedy Nolan before opening his own studio. For Michael, this transition from small to large practice, back to small was a clear reflection of his preference for having more direct face-to-face conversations, personal relationships and interactions with clients, contractors and consultants. He found, and still finds, this ‘on- the-ground practice of architecture more tangible’.

McManus Lew Architects was established in 2015. Located in North Melbourne, amazingly, it

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Architect Victoria

is in the same space his late father practiced architecture as McManus Architects. The first built project by McManus Lew Architects was a small cafe, Standing Room at Melbourne University. The first residential job presented through an architect friend, whom the job was too small for, and work has since grown organically from there. Michael speaks of the generosity previous practices have shown him and the place they have in supporting new practices. ‘Their referrals have been really valued and it’s great knowing there is such camaraderie among firms.’ He goes on to say how supportive the architecture industry is of small practice and that there seems to be a groundswell of sharing and assistance, facilitated by the likes of Architeam and the Institute's Small Practice Forum. Michael believes the same encouragement should extend to the builders realising our projects, ‘acknowledging good work on site is important in creating strong and healthy relationships. It allows everyone to take pride in their work and brings out the best in people.’ →

Profile —

Each project heavily involves the client and is a true reflection of collaboration – Michael notes, often when a client walks in the door they are just beginning to think about their project, but slowly as you start to consider what you can do with it everyone becomes more interested, more invested – and often it results in a larger architecture project. He adds that he is very hands on with each of his clients. From the outset of a project, design evolves through presenting the clients with a series of options to open the dialogue about their preferences.

During construction, the clients are involved in each site meeting and see and hear everything first hand – ‘It is a very direct relationship. By the end of the project, the client has an understanding and really good appreciation of not only the spatial experience of architecture, but

Left Interior, Saturn II House by McManus Lew Architects and garden view (right). Photos by Tatjana Plitt Preceding page St Kilda House Photo by Greta Costello

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Architect Victoria

the value we offer throughout the process. They end up as our advocates and pass on their positive experiences and our ability to streamline the process.’ He goes on to say, during the time line of a project, 'we are doing or managing everything that everyone else is not'.

Other parties in projects often have singular roles, ‘as architects, we end up designing and collecting all the missing pieces to bring a project holistically together.’

Enjoying the hands-on nature of small practice, Michael finds there is still lots of room to grow in residential work, but in the future is keen to become involved in community projects. ‘It’s exciting seeing the activist role of architect’s more and more in establishing projects. We are in the perfect position to lead the discussion.’

Office of the Victorian Government Architect —

Above Promotoional material for Melbourne Design Week, Geelong 2019 © Office of the Victorian Government Architect. Artwork by Yiling Shen, Design Intern

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Decade for water Words by Sarah Oberklaid

Right Immersive sensory aesthetic experience Olafur Eliasson's Smoke Room.

‘Everyone thinks oil is the lifeblood of Texas. But in reality water is.’ (Mayor of Dallas, Mike Rawlings). In 2017, Geelong, Victoria’s second largest city, was designated Australia’s first and only City of Design by the UNESCO Creative Cities Network.

This acknowledges the role of design to the city’s evolution and its community identity – its rich Aboriginal heritage, textile and wool production, automotive manufacturing, and maritime culture. A central aim of the designation is to 'raise awareness about the power of creativity and innovation in building sustainable cities and communities.'1 With this comes, not only a significant opportunity, but the need for a commitment, to embed all aspects of design in the revitalisation of Geelong.

This should extend from committing to design excellence through to embracing the public wealth potential of the city’s water and heritage assets.

The Brookings Institution have written of the need for city leaders to set a strong vision for revitalising waterfront cities. They play a pivotal role in making the case and framing 'the value of investment to highlight the benefits of wellness, sustainability, economic development, and inclusion.'2 Internationally, the

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renaissance of urban waterways and surrounding maritime heritage places have helped to revitalise underutilised land, protect against climate change impacts, create places for social inclusion, recreation and connection to landscape, and facilitate new transportation modes.

The re-envisaging of these places demonstrates a stewardship across all levels of government for critical urban issues, including water and waste.

The theme for Melbourne Design Week in 2019, Design Experiments, offers a provocation 'to experiment with ideas, materials, places and processes' to consider how design can shape the future. The Office of the Victorian Government Architect is hosting a public event at the Geelong Library on Thursday 21 March 2019 as part of Design Week, which will focus on the role of design champions for cities. A panel of design experts will discuss how strong design leadership has contributed to exceptional outcomes for cities around the world, offering their insights into the potential benefits for the ongoing revitalisation of Geelong.

Could embedding design leadership and capability in decision making, urban strategies and governance structure within

Architect Victoria

government help shift gears to enable Geelong to leverage its important international City of Design status?

How can the City continue to stimulate dialogue with its citizens and agents of change through design processes underway and anticipated?

The United Nations commenced Water Action Decade in 2018, highlighting the urgent global imperatives for addressing water related challenges, particularly as the effects of climate change are exacerbated.3 The objective of the decade is to motivate action on water, focusing on sustainable development and the integrated management of water resources. Drawing upon this global agenda, as well as Geelong's status as a City of Design, offers potential to strengthen the appreciation and role of water as the foundation of the city's transportation, industry, and maritime heritage. The international momentum for Geelong is to capitalise on and reinforce its design ingenuity and thrive.

Sarah Oberklaid is Senior Adviser, Urban Planning and Design, Office of the Victorian Government Architect.

Notes www.geelongcityofdesign.com.au/ www.brookings.edu/blog/metropolitanrevolution/2017/03/16/mayors-can-lead-the-way-onwaterfront-revitalization/ 3 www.un.org/en/events/waterdecade/index.shtml 1

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