Alexia Baikie - Research Booklet - Bower Studio 2020 by BowerStudio20

BOWER STUDIO. alexia baikie 699258

Acknowledgment of Country I respect and honour Aboriginal and Torres Strait Islander Elders past, present and future. I acknowledge the stories, traditions and living cultures of Aboriginal and Torres Strait Islander peoples on this land and commit to building a brighter future together. Warning: Aboriginal and Torres Strait Islander viewers are advised that this booklet may contain images, voices and names of deceased persons.

BOWER RESEARCH JOURNAL CONTENT PAGE 00. DESIGN PROCESS

03. DEVELOPMENT OF BRIEF

- TECHNICAL RESOLUTION

- METHODOLOGY

- CULTURAL CENTRE BRIEF

- STAGING CONCEPT

- REVISITING CONCEPT DESIGN

- HUMAN-CENTRED DESIGN

- COMMUNITY CONSULTATION

- USER-FOCUSED DESIGN

- FEEDBACK & UNDERSTANDING

- CRITICAL REFLECTION

- DESIGN FRAMWORK

- UNDERSTANDING BRIEF

- MATERIALS & METHODS

01. RESEARCH - BACKGROUND RESEARCH - CONTEMPORARY RESEARCH

- FORM AND FUNCTION

07. FINAL DESIGN - DESIGN PROEJCT AND PRESENATION - ANALYSIS ON DESIGN PROJECT

04. IDEA GENERATION

- CRITICAL PRECEDENT ANALYSIS

- SITE ANALYSIS

- CULTURALLY APPROPRIATE DESIGN

- CONCEPT DEVELOPMENT

- DESIGN DEVELOPMENT

- CULTURAL UNDERSTANDING

- USER ENGAGEMENT

-CRITICAL EVALUATION ON IDEAS

- BUILDABILITY & CONSTRUCTION

- TEXTS, DOCUMENTS & FILMS

- KALKARINGI

- REFINED PRECEDENT STUDY

- PEOPLE & PROCESSES

- BOWER PROCESS

- MATERIALS & METHODS

- IMAGES

- BUILDING IN KALK

- EDS STRATEGIES & RESEARCH

02. CONTEXT AND SITE

05. CONCEPT DESIGN

06. DETAILED DESIGN

- FUTURE STEPS & CONSULTATION 08. REFERENCES

00. DESIGN PROCESS My Bower 2020 design process will engage with a human-centred design process that explores an iterative process of observations, data collection, idea generation, design prototyping, feedback and evaluation.

DESIGN PROCESS My Bower 2020 design process will engage with a human-centred design process that explores an iterative process of observations, data collection, idea generation, design prototyping, feedback and evaluation.

Design and Materialise is the conceptual and schematic design of the Kalkaringi cultural centre. It will explore methods, materials, technical resolution, form, function and communication methods.

Observation includes three main scales and stages:

Test and Prototype is the development of the design including refinement, feedback, evaluation and technical resolution.

1. People, Process and Place: Engaging with research, text, film and concept on Indigenous cultures and communities in an Australian context. 2. A Purposeful Intention: Researching through architectural precedent focusing on cultural centres in Australian and International locations. 3. Community Engagement: Observing, engaging and researching Kalkaringi, the place, and the users of the centre, the Gurindji people. Idea Generation explores the site, cultural understanding, methods, conceptual planning and materials. I aim to use an iterative process of growth and refinement.

Learnings and Evaluation will be driven critical analyses, evaluation and reflections in a journal format. Iteratively feeding back into design and materialised and idea generation. Conclusions include an evaluation on the design, the design process, on observational data techniques, idea generation, communication of design and designs future challenges and how it can evolve. Conclusions will look forward to how best to apply key learning in the next process.

UNDERSTANDING

EXPLORE

MATERIALISE

Design Process Methodology Diagram | based on Don Normanâ&#x20AC;&#x2122;s Human-Centered Design Process | 2001

REFLECTION ON DESIGN PROCESS CRITICAL ANALYSIS I believe the ongoing evaluation of the design, the design process, on observational data techniques were key in idea generation. Presenting on the online platform this semester create communication of design challenges, and became a key testing and designing process for me. In conclusion, the successful elements of this design process were the evidence-based user analysis, reading contemporary texts, community consultations were essential in the concept development. A critical driver of my project was understanding the communities core values that are driving the project.

and required spaces, missing a fundamental element of having a real-life client. Understanding that architecture is not a bandaid and new building canâ&#x20AC;&#x2122;t fix problems and issues is an ongoing understanding that I am trying to develop. Often the brief will ask for a building but to build a community-driven cultural centre, you need to design a program that allows the community to drive the project. Thinking about the core values and town identity allowed me to see past the program and facility requirement and design a process and building that promotes self-sufficiency and for the town to drive the decision making. I interpret my design process as aligning Upon reflection, this process with bowerâ&#x20AC;&#x2122;s ongoing process of allowed for my project concept to be incremental testing and prototyping strongly carried through the design designs for the cultural centre throughout the semester. If I was was through building pavilions in Kalk. to follow solely the brief and facility requirements, I believe I would have become stuck in the program phase and design with a focus on functions 10

Understanding, Critical Evaluation and Analysis

OBSERVATION LEARNINGS & EVOLVE TESTING & PROTOTYPING

IDEA GENERATION

DESIGN & MATERIALISE

Human-Centered Design Process based on Don Norman | 2001

01. RESEARCH Developing an understanding of Kalkaringi and the Gurindji people through community engagement and research-based learning; investigating and exploring books, films, journals, documentaries and concepts on Indigenous cultures and communities in an Australian context.

PEOPLE, PLACE AND PROCESS This chapter will explore historical and contemporary Indigenous and Torres Strait Islander societies and cultures through a range of media representations, including documentaries, texts, books, articles, academic journals, TV and film. A core driver in successful cultural centres is interaction and engagement between the community and design team. Allowing and facilitating local communities to feel and be genuinely represented in a built form requires a process that enables understanding and trust.

THE DREAMING BY W.E.H STANNER The Dreaming by Stanner conveys the richness and uniqueness of Aboriginal culture, his text is described ‘without condescension and sentimentality, his words changed Australia.’ In his Boyer Lectures, he exposed a ‘cult of forgetfulness practiced on a national scale,’ regarding the fate of the Aborigines, for which he coined the phrase ‘the great Australian silence’.

To understand the uniqueness of Aboriginal culture you need to take it as it is, it is complex content in a complex form. This text needs to be required reading for

all Australians. It provides an insight into Aboriginal society, relationships, traditions and culture, and an understanding of the immense injustices of early colonial Australia. Stanner writes with as an anthropologist through a humanist lens discussing factual information with empathy, evidence and feeling. At the moment, I cannot fully fathom the complexity of the dreaming, but I don’t wish to pretend. I would rather wait and listen and grow an understanding without a demand to fathom it before I can.

The Dreaming & Other Essays Cover | W.E.H. Stanner

Diagram of thinking about knowledge streams | after reading Munya Andrews 17

DARK EMU BY BRUCE PASCOE AN AUTHENTIC CONSERVATION Dark Emu, by Bruce Pascoe, re-examines colonial accounts of Aboriginal people in Australia. The book calls upon evidence from colonial journals and first-hand accounts of pre-colonial agriculture, aquaculture, food storage, fire, home, engineering, building construction, sustainable futures and sacred places. It gives recognition and attention to the obvious signs that civilisation already existed in Australia long before the European explorers and settlers journeyed across the country claiming land. It is in fact, an inconvenient truth for colonists / European invaders that Indigenous Australians lived in permanent structures and large communities building dams, wells, planting crops, farming and irrigation seeds and storing surpluses of crops. Yet, as inconvenient and shaming a truer history is on colonists - it is authentic conservation and Australians need to know and own their history. In 2014, when the book was released, Dark Emu exploded the myth that Aboriginal people were hunters and gatherers. 18

Aboriginal people were farmers, many explorers saw and wrote about the great harvest of grain across Australia. Dark Emu’s argument critically analyses the ‘peculiar coincidence’ described in explores journeys of that the best soil in the country was situated in fields with no trees. It was not a god-made coincidence, but a demonstration of the intensive management of land by the Aboriginal people. However, Pascoe found his argument was not well received amongst academics before writing Dark Emu, he stated, “I realised I had to use sources that all Australians respected.” Bruce Pascoe was able to critique the critic, through the process of writing based on colonial journals and first-hand explore account, documents in which the critic already believed to be true. Pascoe book can amendment history, to share a truer story and recognised information and history that has been deliberately left out from postcolonial Australian history books.

Farming tools to seed and sow yams

A HANDFUL OF SAND THE GURINDJI STRUGGLE, AFTER THE WALK-OFF

BY CHARLIE WARD Vincent Lingiari led a walk-off that was instrumental in reshaping the attitudes to land rights within Australia. The Gurindji people are proud of their heritage and contribution to equal rights. Through reading a handful of sand the main values that were conveyed were - reclaiming of land and desire for an autonomous community - an overall sense of pride in the community - struggle and fight for equal rights - children to be educated in their way, not western - integral to achieve all this with minimal European support

The key reflections for me were: - Gurindji people have a different concept of land ownership to western culture. This was very important because the law was change/refashioned so traditional forms of aboriginal land ownership could be held. - The land was returned after the walk-off, advocacy and 9-year fight for equal rights and fair treatment - It was the birthplace for land rights

and radically challenged the system. The elders were working within a system that worked against them. One vital learning during reading a handful of sand was about how the different perceptive of land ownership was a key tension. It is a complex system and the rules favour those who make them. - A real desire for an independent Gurindji community, both financially self-sufficient, social and education allowing their children to educated in both cultures and overall to be understood and respect. - Key values that came through during reading were self-motivation, hardworking and desire for an autonomous community. For Lingiari’s legacy to live on. Overall demonstrates the complex nature of the challenges confronting both ‘white’ Australian policymakers and remote Aboriginal leaders. The unfair treatment, biases, ingrained racism and misunderstanding is ongoing Australian issues. This book provided some insight into Kalkaringi past but also their future. They have high hopes for the youth and new generations of future leaders.

FILM: RABBIT-PROOF FENCE It is impossible to watch Rabbit-Proof Fence and not be affected in some way by it. When I first watched the film Rabbit-Proof Fence, directed by Phillip Noyce, I was 9 years old, it was the first exposure to Indigenous Australia’s history and content and the story of the stolen generation. The film is heartbreaking and tells an account of the real-life account of Australia’s stolen generations. The film depicts the struggle alongside strength and tells the story of where the girls are heading (home), but also who they’re running from. The film symbolises the fence as a sign of hope and their will to live, it represents a journey and not only highlights the split between the European and Aboriginal

Reflection and Meta-Thinking

culture, it represents a link between mother and daughter. The fence will lead them home, to their mothers. In Indigenous culture, mother and child kinship is a scared, central spirit at the core of indigenous ideology. I think the success of the storytelling in this film, is how it surrounds the relationship between mother and child, it tells a confronting and true story that is based around love and family and coming home to country.

Rabbit-Proof Fence | Phillip Noyce

Making of Rabbit-Proof Fence | Darlene Johnson

The inter-generational trauma is still in the forefront today. In the ‘making of the rabbitproof fence,’ you see a glimpse of just how hard and traumatic acting in a film based on a true story is on the indigenous cast, young and old. Everlyn Sampi, the actress who plays, Molly, describes the filming of the abduction scene, felt like they were taking her for real. Ningali

Lawford, playing the role of Molly’s mother, stated that ‘these girls that you see now, are only just learning about the Stole Generation now, and here they are, actually re-enacting the whole thing. It is great because they come in with this innocence and then the end of the film the innocence is gone,’ for the characters and the actresses. 23

THE AUSTRALIAN DREAM

Critical Evaluation and Analysis Is contemporary

CONTEMPORARY CULTURE

Both documentaries, The Final Quarter and The Australian Dream explore the career Australian footballer Adam Goodes. They both share the remarkable story of Indigenous AFL legend Adam Goodes, sharing an insight into Goodes’ journey in AFL, the film explores race, identity and belonging in Australia today. Adam Goodes experienced racism and bullying in a series of stadium booing’s and in effect he retired prematurely. It is purely present in Australian contemporary culture the concept of ‘casual racism.’ Casual racism refers to conduct involving negative stereotypes or prejudices about people based on race, colour or ethnicity. Casual racism concerns not so much a belief in the superiority of races, although sometimes may be present, but negative prejudice or stereotypes concerning race. It includes jokes, offhanded comments, and exclusion of people from social situations based on race. Eddie Maguire and AFL fans that

Australia society racist?

contributed and were bystanders are breeding and facilitating that culture. It is disguising, but it is also ignorant to believe it isn’t present if it isn’t in your social circle. Part of the scope of The Australian Dream is to rewrite and correct Australia’s problematic history, similar films in this context would not normally make the decision to give a podium to the kinds of people who have been in control of the narrative for so long. The Australia Dream gave interview screen time to Andrew Bolt and Eddie Maguire to contribute to the debate and true story. This narrative and unusual decision making created a juxtaposition, allowed the viewer to take on all the facts through side by side interview clips and resulted in powerful filmmaking. The film was articulate, loud and emotional and calls out Australian contemporary culture and bystanders to stop racism.

The Australian Dream Starring Adam Goodes Written by Stan Grant Directed by Daniel Gorden

FILM:

Reflection and Thinking

SAMSON AND DELILAH Directed by Warwick Thornton, Samson and Delilah are a film about the untold story of the love between two isolated Aboriginal teenagers. Samson is persistent in gaining Delilahâ&#x20AC;&#x2122;s affections, he steals the communityâ&#x20AC;&#x2122;s sole motor car and persuades her to elope with him to Alice Springs. The film surrounds the hard issues of abuse, addiction, poverty, death, grieve, homelessness and heartarch. Both Aboriginal kids, Samson and Delilah, live in an isolated community in the Central Australian desert. The film looks at concepts of escapism and how isolation can be suffocating on daily life. The film was very intense and hard to watch.

Samson and Delilah | Directed by Warwick Thornton

TEN CANOES

Critical Evaluation and Analysis Is narrative story telling in place and along a journey an effective oral communication method?

ABORIGINAL STORYTELLING Ten Canoes, directed by Rolf de Heer and Peter Djigirr, is an Aborigine folk tale about the fallibly human and legend exploring themes of adventure, comedy and anthropology. The story’s lead is an older man, Minygululu’s and the story follows his narrative of his people and his land. Minygululu is telling his younger brother Dayindi the story. On reflection, the film surrounds concepts of patience, listening, grieve, trust and traditional social structure like how group decisions are made. The relationship between the narrator and audience encourages a response in the film, Dudek & Clothier describe the Dudek & Clothier describe the relationship as ‘critical intimacy’ and it is a strategy they argue is appropriate and ethical 28

within its context. Information that is cultural and spiritual is shared in the script and shares knowledge of the Yolgnu people. Ideas of spiritually and reincarnation are shared, described in the film as ‘when I die, I will go back to my waterhole. I’ll be waiting there, like a little fish .. waiting to be born again.’ The narrator is telling the audience a story based on the ‘characters’ yet simultaneously tells the audiences his story. The transmission of knowledge is through passion and seeking understanding, the audience is at a distance from it and it feels like a long poem in which the viewer needs to abstract their meaning.

Key concepts around relationships, laws and ritual.

Ten Canoes | Film 2006 | Year Rolf de Heer, Peter Djigirr | Directors David Gulpilil | Narrator

In our Blood it Runs | Directed by Maya Newell

INDIGENOUS YOUTH & EDUCATION

Self-Reflection, Critical Evaluation and Analysis

RESOURCES AND DOCUMENTARIES Dujuan, starring In our Blood it Runs, directed by Maya Newell, is eager to spend time on country, he enthusiastic about learning about the practices native to his people and he shows throughout the film that he doesn’t bring the same level of engagement to school. Dujuan is described as ‘he’s often found fidgeting or slumped over in his seat and is prone to acting out is at least partly explicable by a regressive curriculum’.

posed in the following scene with the same teacher reading the ‘The Australia Book’, by Eve Pownall, the teacher states to the class “This is information or non-fiction. It’s fact,” before continuing to read the story aloud. The Australia Book, by Eve Pownall, is an illustrated history book that is not sensitive to the genocidal and tells the story of colonisation.

This is the same educational structure and content I received in my The at the most disheartening public primary school education. stage of the film is a scene deVery similar content and extremely picting Dujuan’s teacher reading a limited content on First People picture book about the dreaming. Indigenous Australian historical She says to the class “Can you un- event were shared at a primary derstand that?... I’m glad you can level only time. The film shows a because I find it a bit confusing deeply rooted disconnect beabout the Spirit and the Dreaming” tween White Australia and its Black with a dismissive wave of her hand history which continuously shapes she continues to say “But we’ve and distorts children’s historical just gotta believe it.” This is juxtanarratives.

CONTENT: LEARNING ABOUT THE FLAG

INDIGENOUS PEDAGOGY AND THINKING

Understanding, Critical Analysis & Key Learnings

PEOPLE, FAMILIES, KINSHIP, COMMUNITIES

DREAMING, STORY, SPIRIT, SACRED BUSINESS LAND, PLANTS, ANIMALS, SPIRIT OF THE LAND

SAND TALK & 8WAYS MODEL Sand Talk by Tyson Yunkaporta explores what

different groups such as gender, birth

happens when you view a global system

order, mob, language group & community

through an indigenous perspective. He asks

group.

how contemporary life diverges from the

- Importance and structure around

pattern of creation. Sand Talk provides a

connection and kinship systems (mother and

template for living. It’s about how lines and

child at the centre of social organisation)

symbols and shapes can help us make sense of

- The importance and value around

the world. Yunkaporta area of research centres

Indigenous pedagogy:

around how we learn and how we remember,

- How can teachers interpret and

he researches knowledge; the transmission

share knowledge respectfully? It

of knowledge, the process of knowledge

is all about the process, not the

production and how knowledge is stored in oral

content. It is about sharing and

cultures.

having the indigenous perceived present in conservation and

Some key learnings I took away from the text to

learning systems.

consider in the design process: - Indigenous groups have set protocols and rules about how it is transferred and managed - You need permissions to introduce content and that permission can be withdrawn at anytime - There are different protocols around

MOTHER AND CHILD HUSBAND / MAN 3 GENERATIONS OF WOMEN AROUND EVERY WOMEN (IN-LAWS) ACCOUNTABLE TO

sharing cultural content in particular around 32

Diagram on a kinship relationship structure | Tyson Yunkaporta

EXTENDED CONTENT: LEARNING ABOUT THE FLAG’S MEANING

PEOPLE NEEDS ARE MIRRORING THE NEEDS OF THE LAND THE SHAPE IS MIRRORED TO REPRESENT THAT BALANCE SPIRIT OF THINKING, IDEOLOGY, PHILOSOPHY, IT CARRIES THE RULES AND LAWS OF HOW PEOPLE ENGAGE WITH THE LAND. THE POSITION IS AT 50/50 - THIS REPRESENTS THE KEEPING AND MAINTAINING OF BALANCE BETWEEN PEOPLE AND LAND. THE LAW TELLS PEOPLE HOW TO EXIST IN BALANCE BETWEEN PEOPLE AND LAND. YOU MUST NOT TAKE TOO MUCH AND GIVE BACK TO THE LAND. PEDAGOGY PROCESS THROUGH INDIGENOUS LENS:

TASK: LOOK AT AUSTRALIA’S ECONOMIC AND POLITICAL SYSTEM - USING AN INDIGENOUS LENS - WHAT SHAPE WOULD IT BE? - USING THE YELLOW AS IDEOLOGY, RED AS LAND AND BLACK AS PEOPLE APPLY THE CONTENT LEARNED TO ANOTHER SYSTEM. ELITES WHO EXIST OUTSIDE OF THE SYSTEM IDEOLOGY: A GROWTH-BASED/CLASS-BASED ECONOMIC SYSTEM THE PEOPLE

THE LAND/ENVIRONMENT (THE “LEFT-OVER” SPACE IN THE SYSTEM) DEMONSTRATES THE UN-BALANCED OF THE SYSTEM Lesson Plan through an Indigenous Perspective | Tyson Yunkaporta

CULTURAL CENTRE PRECEDENT STUDY This chapter will investigate what a cultural centre is? Analysis through precedence at both local and international contexts. Research demonstrates that projects which were both positively received and continually used by their communities had achieved a balance of functional space, local accessibility and fulfilment of users needs. The success of this project should be measured through how well the building fulfils its vision, as the architectural response is a reflection on how well the design team understood the needs of the community and their cultural identity.

ULURU KATA-TJUTA CULTURAL CENTRE

Critical Evaluation and Analysis on appropriate architectural forms

AUSTRALIAN PRECEDENT Architecture has the potential to be a catalyst for societal change and physically represent such movements. However, the complexity of political problems cannot always be solved through architectural solutions alone. Understanding a community’s strengths, needs and potential can empower them to develop spaces that encourage pride and ownership of the space. The complex project sits within in a delicate environment both ecologically and politically. Gregory Burgess Architects describe the design as an expression of Aboriginal culture with integral display and interpretative themes.

Lisa Findley’s article Building Visibility discusses the formal unpredictability, the wrapping of space and how the design process is non-linear, requiring time spent with communities to understand and gain and give respect. The ambitions for Uluru Kata-Tjuta Cultural Centre may have been just too aspirational in aiming to bridge the gap between the government and local communities. The design itself is an impressive response to a brief yet, building’s location combined with an architectural response is better accommodation for tourism needs, over the locals.

Uluru Kata-Tjut Cultural Centre | Section

Uluru Kata-Tjut Cultural Centre

GARMA CULTURAL KNOWLEDGE CENTRE

Critical Evaluation and Analysis on appropriate architectural forms

AUSTRALIAN PRECEDENT Led by the Yolngu people the Garma

continuous connection to the surrounding

Cultural centre, located in the North East

landscape. To accommodate socio-spatial

Arnhem Land (Gulkula in Wiwatj), is an

preferences and avoidance practices

important precedent for the creation of

it has multiple entries and exits. The

sacred Indigenous Architecture.

centre semi-outdoor spaces feature Coren steel panels with perforations to

This project has used architecture as

filter light into the space. The floor plan

a medium to convey oral histories and

is shaped like an anchor, to symbolize

tell the story of the Yolngu people.

Yolngu cultures historical relationship with

Client and Architect both describe the

the Macassan people from Indonesia.

space as a two-way knowledge transfer

Materiality considerations are local and

through a building that expresses an

meaningful creating moments to tell

interconnection approach to share

stories and connect back to the past,

stories and knowledge on politics, social

materials include; steel, metal, timber,

identities, law, kinship relationships,

yellow-painted external panels and dark

education and land. The design enables a

red timber work.

Garma Cultural Knowledge Centre | Facade Floor Plan

EAST PILBARA CULTURAL CENTRE

Critical Evaluation and Analysis on appropriate architectural forms

AUSTRALIAN PRECEDENT Designed by Officer Woods Architects, the East Pilbara Cultural Centre is a new gallery for the indigenous art collective Martumili Artists and small community cultural facility for Newman, Western Australia. The large shed provides an expansion undercover semi-outdoor space that is flexible for exhibition and events while protecting people from the elements. The brief was to replace the existing gallery and Office Woods success came from the proposal of more space to grow, opportunities for bigger events, protection from the climate and an overall radical scaling up of the building bringing

new functional potential. The barcode facade when scanned says ‘This is a big thing’ and architects describe the project as deliberately resisting the cultural look. However, the outside appears robust, the thin façade gives an impression of tent-like and the semi-door space with rainwater tanks gives a close association with the Australian outback. The building is responding to the environment and creating an opportunity for growth and flexibility. I believe it is less a postmodernist nod as described and more a nod to industrialization and the flexibility of the open-plan warehouse.

East Pilbara Cultural Centre | Officer Woods

KRAKANI LUMI, THE WUKALINA WALK

Critical Evaluation and Analysis on appropriate architectural forms

AUSTRALIAN PRECEDENT On the North East of Tasmania, visitors can walk for four days along the Wukalina, an Aboriginal owned and operated guided walk around the Larapuna and Wukalina areas, the cultural homeland of the Palawa. The domed huts by Taylor and Hinds Architects are described as poetic and evocative interpretations of the traditional shelters built by Tasmania’s’ Aboriginal people. The huts are nestled within an outpost and flora surrounded by a timber boardwalk. The British invasion on the Tasmanian Aboriginal was terrible. The sinister dispossession of life, land and customs that devastated the Tasmanian Aboriginal population has created an absence in history for essential

knowledge and ceremony. The Wukalina Walk main purpose is education and to dispel the myth that Tasmania’s is devoid of their first people. Elder, Audrey Frost, stated ‘if we can make this shine it will lead the way for other Aboriginal people.” The surviving communities rekindled their culture and traditions. This project is evident it is designed for mainlander tourists and the abstraction of the hut is a modern generalization. But this project does represent that tension between end-users and community. It is not trying to be a cultural centre or a community hub. It does seem to be trying to create jobs and share knowledge, as in some ways it might be successful in that.

Krakani Lumi | Taylor and Hinds Architects | Cabins Krakani Lumi | Taylor and Hinds Architects | Fire-pit

PARNNGURR HEALTH CLINIC BY KAUNITZ YEUNG ARCHITECTURE Kaunitz Yeung Architecture designed the Punmu

If the medical centre did not meet the needs of its

and Parnngurr Aboriginal Health Clinic for the Martu

patients it would have been deemed unsuccessful so,

people, Western Australia. The design process was

therefore, is the success of a building determined by

guided through iterative and ongoing consultation

how well it carries out its function or program? Does

and dialogue with the communities, employers and

aesthetics really matter? I do believe the consultation

client. The consultation considered the process deeply,

process in the project enabled its success, the

designing incrementally, with repetitive discussion across

communities were all included in the conservation and it

a variety of contexts to ensure that all voices were heard.

made a difference to the outcome of the building.

Parnngurr Health Clinic | Kaunitz Yeung Architecture

The prefabricated modular construction considered the climate, shading, orientation and location of the entrances in order with cultural avoidance and male and female separation. The art screens were designed by local artists and have imbued a sense of pride in the community. The importance of including the community into the design is so event in this program. 44

REFLECTION This project raises the concern around the architectural concept and form appropriateness. FJMT have used architectural symbolism and formal expressions based on a First Peoples creator for a building, that seemingly is not even used by the Indigenous community the concept was abstracted from. The project inevitably raises questions about the role architecture plays in representing culture. This is important learning for my project and in my opinion, this building has not successfully represented the values of the users but instead the capitalist stakeholders.

BUNJIL CENTER MELBOURNE PRECEDENT Bunjil inevitably raises questions about the role of architecture plays, about place and country, the role of Aboriginal and Torres Strait Islander people in contemporary Australia, about the community and facilities and programming. It provided insight into the complex role of representation, ideas surrounding consultancy with traditional owners and communities and hybrid programming. The central theme was the interpretation of the land in the culture of Wurundjeri, Bunurong and Boon Wurrung people. The architectural response is inspired by ‘the meeting of many paths’ and the ‘Bunjil’ the Eagle. The project raises the question of whether or not the building has achieved its aim of holding and honouring the spirit of Bunjil. Mokak answers the question with the commentary, “When we as First Peoples think of our creators, it is not just a moment

of historical reflection. Our creators are with us at this moment, as has always been the case. It’s a knowing, it’s a presence and it’s something very deep. As Aunty Carolyn Briggs has told me, “Bunjil is not just an eagle. Bunjil is a god, Bunjil is a demi, Bunjil is the creation. The creator of the Kulin Nation.” Bunjil Place must hold high spiritual significance that goes well beyond design aesthetic and symbolic endeavors. It is about virtue, the creation of a spiritual place, not just a civic space. If the building does not properly honour Bunjil, there is a real danger that Aboriginal culture and people are being sentimentalized rather than recognized for the strength of their knowledge and what they offer others. Mere symbolism runs the risk of devaluing our stories and the world’s oldest living cultures”

Bunjil Place | FJMT Architecture 47

IN | BETWEEN 2020 VENICE BIENNALE This year’s pavilion will have a circular form and flooring covered in sand and earth to create a “tactile and sensory” experience that invites visitors to take off their shoes. Greenaway, “We engage and build an understanding of cultural authenticity and relationship to country, land, environment and place”. The architects will explore how to form reciprocity and achieve built form outcomes, including giving a voice to “stories that haven’t been told”, “making the invisible visible” and “celebrating diversity, country, people and place”. Greenway and Wong place emphasis on the importance of collaboration working alongside with architectural anthropologist, writer/producer, designer, poets, community and artists, to address the exhibition’s theme ‘How Will We Live Together?’ and create an optimistic work that foreground agency, deep listening, Indigenous knowledge and connection to context. 48

REFLECTION

Wong described the project as a move away from the “museumisation of Indigenous design”.

The architects intent was to represent culture through sound and media the architects’ goal and celebrate the 270 diverse Indigenous language groups and demonstrate that culture is not monolithic or homogeneous.

This project was not built due to coronavirus but I think the concept is interesting and has some merit on what it was aiming to achieve. Encouraging the world to understand the diversity of 270 Australia’s indigenous groups, mobs and language are important to understanding Australia’s past. 49

MUSEUMISATION ‘Museumisation is the phenomenon of presenting and interpreting cultural groups and their representative tangible and intangible heritage’. Cultural centres often have contrasting stakeholders to consider; from locals to governments and tourists. Navigating these competing agendas is an ongoing architectural and non-architectural challenge. However, culture is not an exhibition and architecture should not be used as political leverage over everyday users. Local users need to collaborate with the design team to develop a trusting relationship with a clear intention of the architectural response, for the community to develop ownership, pride and selfsufficiency.

Gwoonwardy Mia Gascoyne Aboriginal Heritage Centre

“The building retains alluring visibility from the Kakadu highway, but more firmly focuses outward and westward to the bush.” - Glenn Murcutt

Living Kaurna Cultural Centre and Warriparinga Wetlands

Mowanjum Aboriginal Art and Cultural Centre

However, the complexity of political problems cannot always be solved. Projects which were both positively received and continually used by their communities had achieved a balance of functional space, local accessibility and fulfilment of users needs. It is important to differ between a visitor centre for tourist and visitors, a community centre for the everyday needs and activity of the community and cultural centre, which need to represent a culture, and a group of people history and their ideas, customs, and social behaviour of a particular people or society.

Bowali Visitor Centre | Glenn Murcutt Brambuk - The National Park & Cultural Centre

Culture is not an exhibition and architecture should not be used as political leverage over everyday users. Punmu and Parnngurr Aboriginal Health Clinics Bowali Visitor Centre

Mowanjum Aboriginal Art and Cultural Centre

SEMI OUTDOOR SPACE Champion Lakes Interpretive Centre

A successful cultural centre will empower the community to place make take ownership and create future enterprising. Architecture has the potential to be a catalyst for societal change and physically represent such movements.

Bowali Visitor Centre

East Pilbara Cultural Centre | Officer Woods

What are the benefits of semioutdoor spaces? Semi-outdoor spaces are shady, they are enclosed, they have light and sun and give users a sense of comfort and safety of the building and place while still being in the landscape. Semi-outdoor space is cheaper to run, they are inviting and casual. They are welcoming and communities love them. How can I include this in my design? How will the end-users judge my design and its outdoor landscaping? What can I learn from precedents?

Warradjan Aboriginal Cultural Centre

Champion Lakes Interpretive Centre

The design and making of cultural centres is challenging because architects must engage in and respond to the political and social context that sits outside of the building.

Karijini Visitor Centre

Champion Lakes Interpretive Centre

Navigating these competing agendas is an ongoing architectural and non-architectural challenge.

Living Kaurna Cultural Centre and Warriparinga Wetlands

REFLECTION Exploring precedents of Thread by Tokisho Mori Architects and Teachers Houses by Kere Architecture. Both projects understand their climate and the importance of collecting water. In Kalkaringi, it is too risky to store or drink rainwater due to bacteria growth. This stimulated the idea of a water feature, a fun temporal experience that uses rainwater collection techniques to flow the water along roofs and in channels for fun, joy and excitement and a way to cool off in the heat.

THREAD ARTIST RESIDENCY, SINTHIAN INTERNATIONAL PRECEDENT A core driver in successful cultural centres is interaction and engagement between the community and design team. This is exemplified by the project “Thread”, Artist’s Residency and Cultural Centre in the rural village of Sinthian, Senegal. Thread was headed by local leaders, with Toshiko Mori architects working pro-bono. The centre has been positively received by the community and is widely considered a success, due to many factors. Significantly, this project was

driven by prominent local leader Dr. Maguese Ba, who maintained a position of responsibility and influence throughout the entire process; thereby providing locals with genuine representation, and trust in the outcome. The project had the simple purpose of being a place of community gathering and to share art. “The original design of THREAD was based on its ability to respond to the way the community would use it as well as the way the artists might use it” (J. Mactavish)

Toshiko Mori Artist Residency | Section 54

Critical Evaluation and Analysis on appropriate architectural forms - International Precedences

Thread Cultural Center | Toshiko Mori Architects 55

REFLECTION Although the centre was highly regarded in the contemporary architectural community, locals have described the finished project as a ‘plundering of their island’s natural resources’ and in 2014 it was reported that locals set fire to parts of the building during construction.

RONG CULTURAL CENTER, IRAN INTERNATIONAL PRECEDENT Our group research demonstrates that projects which were both positively received and continually used by their communities had achieved a balance of functional space, local accessibility and fulfillment of users needs. The Rong Cultural Centre, in Iran by ZAV Architecture is a walkable urban space designed as a place to gather, host events and to watch the sunset. The

Critical Evaluation and Analysis on appropriate architectural forms.

architects describe the centre as a public cultural space designed to bridge that gap between tourist attraction and local community hub. The architects hosted a series of workshops with locals to understand the key objectives of the centre. The community expressed the desire for a simply implemented, environmentally sustainable, self-sufficient structure.

Rong Cultural Centre | ZAV Architecture

REFLECTION

PRECEDENT STUDY The process of creating cultural spaces for Indigenous communities is filled with challenges, both political and architectural. Through this investigative research, we will address and critique the design and making of international Indigenous culture spaces.

Native American Cultural Center

‘And what its done is for me to understand what is needed for the people to have safe structures and how they can build them themselves so it’s all a participatory approach that has happened.’ - Yasmeen Lari

Aanischaaukamikw Cree Cultural Institute

Lari’s designs manifested the dignity of its users, through a participatory design process that facilitated discussion and elevated the disadvantaged members of the community through the promotion of vernacular architecture and a holistic approach that promotes self-sufficiency.

Tjibaou Cultural Center

Architect, Yasmeen Lari, designed the Women’s Centre in Darya Khan. The program and methodology centred around women empowerment and sustainable building techniques. Challenges Lari faced during the project included - Community acceptance, - Understanding local materiality and the surrounding socio-context, - Navigating the role of the architect, in both the design and making.

Tjibaou Cultural Center Aanischaaukamikw Cree Cultural Institute

Culture is not an exhibition and architecture should not be used as political leverage over everyday users. Aanischaaukamikw Cree Cultural Institute Tjibaou Cultural Center

Women’s Center, Darya Khan | Architect - Yasmeen Lari

REFLECTION

SUCCESS MEASURES The success of this project should be measured through how well the building fulfils its vision, as the architectural response is a reflection on how well the design team understood the needs of the community and their cultural identity.

Gathering Circle at the Spirit Garden

“They have to do it themselves, there should be no middle person.” - Yasmeen Lari

Chris Cornelius Architects

Through collaboration, local users and the design team need to develop a trusting relationship with a clear intention of the architectural response, for the community to develop ownership, pride and self-sufficiency. A successful cultural centre will empower the community to place make.

Gathering Circle at the Spirit Garden

Architecture has the potential to be a catalyst for societal change and physically represent such movements. However, the complexity of political problems cannot always be solved through architectural solutions alone. Understanding a community’s strengths, needs and potential can empower them to develop spaces that encourage pride and achieve self-sufficiency.

Women’s Center, Darya Khan | Architect - Yasmeen Lari Wong Cultural Centre | ZAV Architects

The design and making of cultural centres is challenging because architects must engage in and respond to the political and social context that sits outside of the building.

The women’s centre provided a space for women to learn how to build stoves for their home.

Chris Cornelius Architects Futuna Chapel | Karori

Women’s Center, Darya Khan | Architect - Yasmeen Lari

OUR MINI DOCUMENTARY

Reflection, Evaluation and Analysis on Assignment 1

ASSESSMENT ONE REFLECTION Our group research demonstrates that projects which were both positively received and continually used by their communities had achieved a balance of functional space, local accessibility and fulfilment of users needs. I thought elements that were successful in our documentary were the key themes and film narrative. Including architect actual interview clips expressed a variety of voices and added to the discussion, this was an assertive tool and communicated well.

REFLECTION

Overall the documentary was successful in the discussion of a user-based design system and explaining the value of working with the community to increase

A consistent concern was about the tension between the visitor centre and cultural centre and the difference between architecture designed for tourists and architecture designed for locals. Public cultural spaces designed to bridge that gap between tourist attraction and local community hub often were highly regarded in the contemporary architectural community, but locals did not use them.

cultural buildings that are selfsufficient for locals.

Group 2 | Mini Documentary Assessment 62

REFLECTION ON MINI DOCUMENTARIES

Reflection, evaluation and Analysis on Assignment 1

PEER GROUP PROJECTS The overall standard of the Bower 2020 documentaries was high, each documentary provided me with an insight into their content and learnings. I found the more successful documentaries conveyed a clear message and went into detail with 2-3 architectural examples. Key themes that developed across the documentaries included ritual, traditional spaces, building intervention and understanding landscape. The concept around genuine cultural exchanges and complex problems regarding the architectural intervention was continuously introduced, stressing the importance of the concept. A question that kept coming up was around asking who is occupying the space vs. who is coming to the space, which will be important to consider in the design process. 64

On the communication techniques, more successful documentaries used a range of clips and different types of audio such as interviews alongside a formal theme-based structure that presented an argument. These qualities enhanced the experience for the viewer of the documentary. However, considering the time frame and being architecture students, not filmmakers I reflect on the challenge of making a documentary and conclude in the positive experience and learnings from the screenings.

Group 1, 3 & 4 | Mini Documentary Assessment 65

02. CONTEXT & SITE Generate a site analysis, consideration the environment, social context and cultural factors. Develop a cultural understanding through community consultation and create a culturally appropriate design brief.

COMMUNITY ENGAGEMENT The collaboration between end-users and the design team requires the developed a trusting relationship with a clear intention of the architectural response, for the community to develop ownership, pride and self-sufficiency. A successful cultural centre will be inhibited and the community will place-make. Understanding what the community desires are essential in designing a space they want to use.

THE GURINDJI MOB CONTEMPORARY CULTURE “In our communities we are ‘one mob’ with Gurindji, Malngin, Bilinara, Mudburra and Ngarinyman speakers from nearby. Together, we call ourselves Ngumpit, and share most of our languages and culture. Warlpiri people have also lived with us for generations. Our country is richly varied and includes the headwaters of the Victoria River. According to our elders, the land is alive with the spirit ancestors who created our country. Jurntakal (snake) is a major Dreaming for us. In the Dreamtime, Jurntakal travelled from Spring Creek in the west, across upper Wattie Creek, and into Mudburra country at Gordie Springs. Before our land was taken up by European settlers, our old people shared our world with Kurraj (Rainbow Snakes), Karukany (mermaids) and other spirits. 70

Today, people at Daguragu and Kalkaringi mostly speak Gurindji, Kriol and English. Everyone inherits a skinname at birth. There are four for boys, like Janama and Japarta, and four for girls, like Nangala and Nawurla. We keep our skin names for life and they determine how all Ngumpit relate to each other. Many of us are successful practising artists, using our art to tell stories about our land, Dreamings and history. The Karungkarni Art and Cultural Centre is a focal point for our community. Local ceremonial life is secret-sacred, though our senior men and women lead the young in wajarra (public) dance every year at Freedom Day.”

by Violet Wadrill and Biddy Wavehill

KALKARINGI THE GURINDJI PEOPLE

Analysis of Cultural Understandings and Consultation.

HISTORY OF TOWN & WALK-OFF

REFLECTION

Kalkaringi is situated approximately 460 km south-west of Katherine on the Buntine Highway, adjacent to the Victoria River. The town is the traditional lands of the Gurindji people. The Gurindji people first encountered Europeans in the 1850s and a large pastoral operation was established in the 1880s. The Wave Hill Cattle Station was a landmark for the event that inspired national change. British invaded Gurindji lands, bringing cattle and farming that destroyed Aboriginal land, agriculture management, water and food sources. Initially, the British believed the Wave Hill Cattle Station would provide working conditions, but the reality was abuse, massacres, killings and stolen children. Lingiari and his people wanted nothing more than the rightful return of their lands. On the 23rd of August 1966, Vincent Lingiari

led 200 brave Indigenous stockmen and their families to walk off Wave Hill Cattle Station protesting against the work and pay conditions.

The Gurindji people are proud of their heritage and contribution to equal rights. Through reading a handful of sand the main values that were conveyed were

The group of protestors walked 30 kilometres from Wave Hill Station to Wattie Creek where they stayed in protest for nine long years. During the years of protest, the news spread across the nation, and Vincent Lingiari toured Australia to lobby politicians and find support. The protest was successful in 1975 and the nation witnessed the first piece of Australian soil being returned to Indigenous hands when the Prime Minister of Australia, Gough Whitlam, ‘handed-back’ the land to the Gurindji people.

- Reclaiming of land and desire for an autonomous community - An overall sense of pride in the community - Struggle and fight for equal rights

Image of Gough Whitlam, ‘handing-back’ the land to the Gurindji people | 1975

Before reading a Handful of Sand, I didn’t fully understand the meaning behind taking back ownership of community facilities such as the club and arts centre. Being a self-autonomous community is so important to the community. This desire is a key-driver in my design. With community involvement as my first priority in this project. This project aims to explore how understanding underlying core values can drive design outcomes.

The importance of fire and fire pits to gather and yan

THE WALK OFF The Wave Hill Walk-off is an important day and victory in history. Vincent Lingiari led a walk-off that was instrumental in reshaping the attitudes to land rights within Australia. The Gurindji people are proud of their heritage and contribution to equal rights.

Photographed by Finn Stagg

Understanding the land and people through talking and consultation, how will this year’s Bower be able to engage with the community over the Internet? Photographed by David O’Brien

REFLECTION

Photographed by Roise Lang Photographed by Elizabeth Hui-Mei Seah

Photographed by Maria Yanez Sainz

The colours of the landscape, sky, plants and soil.

Photographed by Elizabeth Hui-Mei Seah

Photographed by Rosie Lang

How to include local art and artists in the design?

Photographed by Finn Stagg

Understand Kalk without being there is a difficult process. I believe to design you first need to understand how things are working or not working. A barrier I felt in the process was designing a cultural centre that already had years of consultation surrounding it. It wasn’t as if we were starting our understanding from the beginning but we were starting late, consulting with groups that may have felt like they already consulted about the cultural centre. Often if consultation it was meanted ‘just to refer to last years’. I think by visiting the shops, the houses, watching the people on the street and seeing what enterprising naturally occur and how peoples react towards them and support one another are all vital elements that can be considered in designing for a community.

KALKARINGI THE GURINDJI PEOPLE

REFLECTION

Critical Evaluation and Analysis of Site

My design process started with the acknowledgment of an absence of understanding, I have never visited Kalkaringdji. I believe the biggest challenge of this project is to design a culture you havenâ&#x20AC;&#x2122;t met. How can you learn to understand people through the Internet? Reading, listening and hearing stories from others is the best way we can. Being patience and looking at photos. I have found reading websites, blogs and social media helps, looking at how Kalk represents Kalk.

CONTEMPORARY CULTURE Kalkaringi is one of the most famous small communities in the Northern Territory. Combined with the nearby Daguragu, about 700 people reside in the area. Kalkaringi is plentiful in natural beauty with unique landscapes and small weaving river systems. In 2006, the Northern Territory government heritage listed the route of the walk-off. Kalkaringi celebrates the 50th anniversary of the walk-off win 2016 with freedom day, the track was opened to share the historic journey with visitors.

Freedom Day is a very unique and remote festival experience, it is held in Gurindji country. Each year on Freedom day people from all walks of life make the pilgrimage in August to celebrate in the spirit of unity and pride. The Gurindji people invite people both white-fellas and blackfellas to journey into the heart of the Northern Territory and celebrate the walk-off success. It is described as a memorable weekend of arts, culture, music and sports.

I strongly believe the architecture needs to be a facilitator of design opportunities and to provide for the user with moments to express and engage with space during the construction period, not solely after. Karungkarni Art and Culture Centre

Karungkarni Art and Culture Centre

Kalkaringi | Photographed by Annabelle

KALKARINGI EXISTING FABRIC REFLECTION ON KEY LEARNINGS I believe it is important to design and work with the traditional fabric people around inhabit. Kalkaringi is so plentiful in natural beauty with unique landscapes and small weaving river systems. The town already has a voice so it is important to hear it. Still in my mind exhibition program provided insight into Gurindji cultural perspectives. I found this very helpful in considering which key concepts should be relevant to my design understanding.

Photographed by Elizabeth Hui-Mei Seah

communities maintain a special connection to and responsibility for Country/Place - Aboriginal and Torres Strait Islander people have holistic belief systems and are spiritually and intellectually connected to land, sea, sky and waterways - Aboriginal and Torres Strait Islander peoples’ ways of life are uniquely expressed through ways of being, thinking, knowing and doing - Aboriginal and Torres Strait Islanders Peoples’ family and kinship structures are strong and sophisticated”

Green plants, blue skies, gum trees, red dirt, water ways, fences, dirt tracks, back yards and fire pits. Photographed by Elizabeth Hui-Mei Seah

Some key concepts are: - “Aboriginal and Torres Strait Islander Magical life by the water ways.

Photographed by Finn Stagg

Photographed by Elizabeth Hui-Mei Seah

Photographed by Annabelle Roper

Photographed by Elizabeth Hui-Mei Seah

Photographed by Maria Yanez Sainz

Photographed by Roise Lang Photographed by Rosie81 Lang

THE BOWER PROCESS

Critical Evaluation and Analysis of Site

PREVIOUS BOWER STUDIO PROJECTS Bower Studio staff and graduate students liaised and worked with the community to prototype a series of informal culture. The popular Big Shady model for Kalkarinji’s central park allows flexibility and ‘each Big Shady is then tailored to the site and aspirations using an additional ‘kit of parts’. The Bower 19 team were supported by Gurindji Aboriginal Corporation and installed the steel frame,

Karungkarni Art and Culture Centre

working and collaborating in design with Rob Roy, senior traditional owner, to design and build the appropriate screens, furniture and cooking spaces for the park and community. The Bower team designed and built the screens, seats, benches and cooking fireplaces based around Rob Roy’s vision. The materials used were perforated metal sheets, weld-mesh, concrete and pre-casted.

Karungkarni Art and Culture Centre

Photographed by Annabelle Roper

BOWER BIG SHADIES

Critical Evaluation and Analysis of Site

PREVIOUS BOWER STUDIO PROJECTS Bower 19â&#x20AC;&#x2122;s prototyped a series of informal culture spaces. These projects were aimed to help develop an understanding of how the future culture centre might contribute to the community. They are small projects that test how appropriate an architectural response is.

- The remote location means limited access to materials - The design has to respond to the climate using passive design strategies - Kalk is hot and needs to provide shade from the sun in the dry season, shelter from the rain in the wet season

Key design challenges, I can learn from the big shadies process and design are: - A need to respond to the daily lives and patterns of Kalk community.

Karungkarni Art and Culture Centre

REFLECTION During community consultations for the family centre, Taysha expresses that some community members express a desire for curves and soft shapes to juxtapose the sharp design of some of the current designed shaded pavilions. I found this feedback so valuable. The cultural centre has the opportunity to express a new architectural form but still learn from key findings in the pavilion designs. I want to carry the idea of a softer building, architecturally translating the idea to the roof design.

Karungkarni Art and Culture Centre

The importance of fire and fire pits to gather and yan

PLACEMAKING

Bower Blogs

Understanding the land and people through talking and consultation, how will this yearâ&#x20AC;&#x2122;s Bower be able to engage with the community over the Internet? Bower Blogs

Bower Blogs

Home Plus Catalogue

Ideas for user engagement during the stages: - Tree planting - Garden care - Outdoor cinema - Painting - Fire pits and cook ups - Dancing - Speaking / Community Meetings - Building and Construction - Festivals - Learning groups - Story telling

Bower Blogs

Community Engagement in the build and landscaping Bower Blogs

Observing areas that people use a lot already is really valuable. What time of the day are they there, what are they doing, are they enjoying themselves, how are they grouped. The best way to design is to see how people use it today, to see its strengths and then to reinforce and exploit those strengths. No logic or model can be superimposed onto or in a small town. It is the people who make it what it is, so it is up to them, not the buildings.

Local kids painting and engaging with the building Home Plus Catalogue

Home Plus Catalogue

The importance seeing, feeling and experiencing place

BOWER BLOGS

Photographed by Maria

Bower 2020, during the COVID19 panademic connected and engaged with the Kalk community over the internet Photographed by Henry and Elliot

Photographed by Finn and Emma Photographed by Alex

Reading other students Bower Blogs provided insight into the typical bower experience. It seems like it is overwhelming at first but as you bond with the class you gain confidence and walk away with a once in a lifetime experience. I want to connect with this experience by designing a process that reducing the feeling of overwhelming change, that may come with a new three-piece building and look at how a building can grow slowly, making it feel part of the existing fabric.

REFLECTION Photographed by Elliot and Claire

Meeting the community, the experience of place and country

Photographed by Elliot and Claire

Photographed by Rosie and Gemma

Engaging with a peer group over zoom instead of a fire

Photographed by Gemma and Rosie

Understanding how things work through watching the little details and their cause and effect. By visiting the shops, the houses, watching the people on the street and seeing what enterprising naturally. I think this project will lack this understanding. By developing a process rather than just a building I tried to account for this lack of understanding.

ENGINEERING & CONSTRUCTION ARUP CONSULTATION Structural design of the vertically spanning steel members, horizontally spanning steel members, the concrete pad footings and the connections. The central columns support the largest tributary area of load hence are required to be larger than the edge columns. Instead of using a 200EA member, we designed the central columns to be 2 sections welded together. This allowed us to keep the weight of individual steel elements down and also maintain the design intent of having the maximum section sizes to be 150EAs. The main considerations of the design

were strength, stability and serviceability/deflection. Arup needed to consider the forces of the structure including, dead load, live load and wind load. This resulted in the maximum member size for design intent to be 150EA Arup followed a construction process that considered the manual labour required, therefore making the weight of members to be as light as possible, the pad footings to only extend 300mminto ground to minimise digging and to have the concrete pad footings to be pre-cast to avoid mixing large quantities by hand.

Pad Footing Design

Initial concept design model

DESIGNING WITH ARUP DESIGNING ALONGSIDE ENGINEERING The 2019 Kalkaringi Big Shady was designed alongside ARUP. The consultation with ARUP wasn’t many drawings but most design decisions made at 1:1 scale using steel angle, perforated metal sheets, weldmesh and timber slabs. The formwork and pouring techniques for the concrete bbq bases were designed to create various textures in the concrete. It used local soil and developed through a series of prototypes. Bower described that

it was ‘interested in the community’s thoughts on the use of texture and the ways it can enhance future design ideas for the proposed culture centre’. Some key learnings from the 2019 Pavilion were an understanding of the most appropriate palette of construction materials and the material choices capacity to enhance light and shadow.

REFLECTION During my ARUP consultation over zoom, Rachel and Jorja gave the advice to adopt a post beam structural system. To design on a grid and were very supportive of a staged design. They highlighted issues of post-drilling,

how am I going to get the footing in without a wall present due to the reinforcement bars sticking out. Rachel suggested having a self-supported wall and self-supported roof so they did not rely on each other to stand.

MATERIALS & CONSTRUCTION IN KALK CONSULTATION WITH JAMIE Timber: - Termites on timber that is at ground level and with would-be infested in a few months. Timber is expensive and you shouldnâ&#x20AC;&#x2122;t design with a lot of it. Consider plywood, CLT, MDF for interiors. - Consider that there is not enough firewood around Kalk, so if you make a deck out of timber that burns then it will be stolen and used firewood. Important to make it a material no one can steal. Rammed Earth / Mud-Bricks: - It is an expensive material so consider where it is used. The reality of building in a remote area is that you would need to use pre-formed concrete so it can be robust and durable. - Mud bricks are a sustainable/affordable housing solution that you can create but would need outside install for Kalk.

Steel: - Double RR likes recycled corrugated iron. It references the existing fabric of the town

Rain Water Collection: - Water collection is very problematic in the heat and with no maintenance. Previously a grant scheme where they all were installed and over time created germs. It is important to consider the reality of the situation and installing systems that donâ&#x20AC;&#x2122;t need maintenance. Locals Building/Labor: - Discussion on the concept around confidence and competence which is very low. In terms of certification, Kalk might have someone with a forklift driving license but the systems need to be conventional and easy to build. - The importance of having locals to be involved in the process to have a sense of ownership of it. Building local skills and employing local labor.

03. DEVELOPMENT OF BRIEF This chapter looks at developing the brief, consultation and designing an architectural concept. The brief was developed through online consultations with the community, previous bower and contemporary research, engineering consultations and idea generation through briefing exercises.

CULTURAL CENTRE BRIEF The Kalkaringi community requires the design of a cultural centre. First and foremost, the culture centre should provide spaces for the community to use and engage with. It should be a place where Gurindji culture is celebrated and cultural knowledge is passed down from generation to generation. Secondly, the culture centre should contribute to tourism and the economy through the display and sale of local art, sharing the Gurindji story, and potentially facilitating communication between tourists and Gurindji peoples.

CULTURAL CENTRE DESIGN BRIEF COMMUNITY CONSULTATION Programme Key spaces to consider in the buildingâ&#x20AC;&#x2122;s programme include: - Information/tourist space/books and art sales - Gurindji and Walk-Off history - Language - Youth - Outdoor cinema / Media space - Private culture space, ceremony, artifacts - Painting gallery (permanent and temporary collection) - Workshop space, painting and other arts in future? - Archived photos, video, audio and artefacts - Kitchenette/cafe - Talking spaces - Casual spaces - Toilets and amenities - Storage

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Themes Some themes to explore in the design include: - Indoor-outdoor relationships - Avoidance Strategies - Flexibility - Economic/prefabrication - Materiality and robustness Considerations Other aspects to consider include: - Wind - Dust - Passive cooling - Flooding - Sun - Durability; timber treatment, steel rust - Minimise labour - Landscaping - Pavilions Note: certain artefacts and archives can only be seen by certain groups i.e. men, older men, women, tourists, locals

Word Cloud Diagram | based on zoom client consultation sessions 101

COMMUNITY ENGAGEMENT CONVERSATIONS WITH USERS NOTES FROM CONVERSATIONS â&#x20AC;&#x201C; Kalkaringi 19/04/18 - 2/05/18 (BOWER, 2018)

Understanding through transcript | based on Bower 2018 Field Notes 102

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INDIGENOUS STUDIES CONSULTATION DR LYNDON ORMOND-PARKER The cultural centre group consulted with Dr Lyndon Ormond-Parker. Ormond-Parker is a Research Fellow of Indigenous Studies Unit with Melbourne School Population and Global Health School. Born in Darwin and part of Alyawarr decent from the Barkly tablelands region of the Northern Territory. Ormond-Parker has been involved in advocacy, policy development, research and negotiations at the local, national and international level. He explores areas in information technology, cultural heritage, materials conservation and

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repatriation of Indigenous communities. His current role is a member of the Australian Heritage Council and a principal adviser to the Australian Government on heritage matters.

REFLECTION Our group combined a series of questions and Ormond-Parker provided valued insight into community engagement in Aboriginal cultures and communities. Key learnings included: - Scale, starting small and growing is important. Big spaces just donâ&#x20AC;&#x2122;t work. Historical important of returning artifacts to the place of origin, including documenting, remembering and protecting historical artifacts. - Importance of air conditioning and shade. - Designing for the users to engage with the space by understanding their working hours, activities and needs. Looking at what type of art the artists engage with and when they have lunch, get to the workshop and leave. - Having larger undercover areas of the artists with views to allow them to paint country.

- The importance of passive design. Keeping the building cool with breeze and airflow. Thinks the concept of ponds, water and anything that cools down a building works well. - Different access for different groups, men and women. Understanding avoidance theory is essential in designing this space. - The idea of mixed blurred spaces, have mixed-use and have causal interactions. - Dance spaces and spaces to create art are very important

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ABORIGINAL AVOIDANCE PRACTICES

Theory Research & Precedence Study

DESIGN CONSIDERATIONS â&#x20AC;&#x153;Aboriginal avoidance practices refers to those relationships in traditional Aboriginal society where certain people are required to avoid others in their family or clan. These customs are still active in many parts of Australia, to a greater or lesser extent. Avoidance relationships are a mark of respect. In what is the strongest kinship avoidance rule, some Australian Aboriginal customs ban a person from talking directly to their mother-in-law or even seeing her. A mother-in-law also eats apart

from her son-in-law or daughter-inlaw. Today the practice continues in many communities but has also come to encompass avoiding the publication or dissemination of photography or film footage of the deceased as well. Most forms of media include a disclaimer warning Aboriginal and Torres Strait Islanders that the program may contain images and voices of such people who have died.â&#x20AC;?

Parnngurr Health Clinic by Kaunitz Yeung Architecture practices Aboriginal avoidance designing, the architects worked alongside Indigenous communities to understand and developed spaces that are appropriately designed with multiple entries, exits and separations between groups. Diagram of Exits 108

Diagram of Paths 109

THE CULTURAL CENTRE GROUP REFLECTION COLLABORATION OVER ZOOM This semester we working individually on a design for the cultural centre within a group of four, Emma, Andrew, Caleb and myself. Reflecting on this process is was fantastic to have collaboration between a small group to engage with community consultations and presentations. Upon reflection, I think the process of three different briefs was engaging to have different exposure to different projects in the same town. The collaboration between groups felt very segregated and could have been cross-pollinated more between groups. To engage in

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identity and ownership of a project at a Master of Architecture I think it would have been beneficial to be allowed to choose your brief. If you have a particular interest in an area of design it would have been very engaging to work with a reallife client on that architectural area of interest. In reflection, I would have shown a preference to the family centre brief as consultation, mental health spaces and community building has been a design main focus area in my degree. However, I appreciated being push outside my boundaries in a project brief that looks at cultural, identity, art spaces and community engagement.

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PRECEDENT COMMUNITY CONSULTATION REFLECTION ON PRESENTATION The consultation with Penny and Phil provided insight into the cultural centre brief. They outlined Kalkaringi community requires the design of a cultural centre. That the culture centre should provide spaces for the community to use and engage with. It should be a place where Gurindji culture is celebrated and cultural knowledge is passed down from generation to generation. It needed to be for the artist and have a gallery space. Secondly, the culture centre should contribute to tourism and the economy

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through the display and sale of local art, sharing the Gurindji story, and potentially facilitating communication between tourists and Gurindji peoples. As well as outlining keep programmatic elements this consultation provided insight into how the gallery space could be de-centralised and non-linear. The importance of nooks and spaces to break out into and the emphasis on landscaping and semi-outdoor spaces. The key element was keeping the building cool so users with inhibit it.

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PEER REFLECTION PRECEDENT STUDY REFLECTION CONSULTATION Key understanding I gained from watching other groups presentations were - The linear presentation. Understanding what you want to gain from a consultation is just or more important than having one. A key learning was a having a plan for the consultation outcome but the freedom to allow it to go off track. - Providing some questions to stimulate conservation - Understanding through images was important. Not showing plans or architectural drawings. - Having one image per slide was important

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Key learnings from the consultations were: - The preference for corrugated steel - The tension between changing things but keeping them as they are - The desire for a contemporary and new building - Using the colours of Kalk, the oranges, reds, blues and greens - The importance of shade and cooling in buildings - How dirty things will get, a common thread of robustness and durability - Semi-outdoor space in the shade and landscaping is important

Leif’s Project

Social Clubs Presentation

Leif’s Project

Cultural Centres Presentation

Social Clubs Presentation

Cultural Centres Presentation

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PREVIOUS COMMUNITY CONSULTATION PAST STUDENT PROJECTS George, David and Jamies presented last years cultural centre projects. The key reflections and learning from these projects were: - The importance of foliage, people and landscape - The scale and size of the project. Larger projects were not considered highly by the community - The surrounding environment, understanding is key for the community to engage with - The render styles, it needs to look like the context it. Renders are easier to understand than floor plans and sections. - The importance of communicating with users. The community are every day people and architectural drawings need to communicate with them through encouraging, like people engaging with the space doing activities

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Past Bower StudioStudents Work | Cultural Centre Consultation Session

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ACTIVITIES:

PRAGMATIC PLANNING - User needs and types of spaces - Level of security - Program development through stakeholder consultations

SIT IN SHADE

RELATIONSHIPS:

SPACES: SHADED PATH

WALK TO TOWN SEATING AREA CHAT IN SMALL GROUP

ENGAGE WITH COUNTRY

COMMUNITY MEETING

DANCE & CEREMONIES

OUTDOOR SPACE / GARDEN

COURTYARD SPACE

AUDIO VISUAL ROOM

EXHIBIT ART & ARIFACTS OUTDOOR CINEMA HAVE A CUPPA & LUNCH GALLERY STORY TELLING

VIEW ARTIFACTS

STORAGE

SELL ART

CAFE

RECEPTION

PRIVATE VIEWING ROOM

ADMIN TASKS OPEN AREA WATCH VIDEOS

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SHADE

UNDERSTANDING THE BRIEF

DESIGN PROBLEM: A desire for a physical space to express history and retained memory. GOALS: 1. A space for Kalkaringi community to engage with and use. 2. A place for Gurindji people to express their culture. 3. The display and sale of local art.

PLACE TO PLAYS

OUTDOOR CINEMA

- Developing user profiles - Mapping desired paths - Common journeys through the site

MEETING SPACE 20 - 40 PEOPLE OUTSIDE ARTIST SPACE OUTDOORS

USER 1:

LOW

COMMUNITY MEMBER

SECURE USER 2:

LEARNING SPACES

HIGH

TALKING SPACE

LOCAL ARTIST

AUDIO VISUAL ROOM ARTIST SPACE USER 3:

CAFE

STUDENTS

VISITOR CENTRE

DESIGN APPROACH: To acknowledge an absence of understanding and instead provide an opportunity for users expression and engagement. A building process that consists of a series of small interventions. Exploring the concept of how a building can grow as user understanding does. Small inventions with the opportunity to express and engagement can strengthen the connection between people and place.

AMENITIES

USER 4: VISITORS / TOURISTS

GIFT SHOP

GALLERY

SECURE: SPACES THAT NEED TO BE LOCKABLE

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STORAGE

DESIGN CHALLENGE: A space that reflects an understanding of the users and facilitates user expression and engagement.

ARTIFACTS

PRIVATE VIEWING ROOM

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UNDERSTANDING THE BRIEF

Critical Reflection on Brief

DESIGN THINKING PROCESS I believe the biggest challenge to design an architectural response that reflects an understanding of the users and a space that facilitates user expression and engagement. This is especially challenging for a community you have not interacted or observed. However, even you have interacted or

observed a community I still think it would be challenging. After consultation with the community, I wanted to start my design thinking about the brief, the client’s key goals they are seeking to achieve through design and ideas on how the architecture can respond to the client’s needs and motives.

REFLECTION

122

The key questions I started to reflect upon were: What is a ‘cultural centre’? A historical archive and a community hub that expresses identity for the past, present and future. Is it possible to achieve an expression of identity for a community through a psychical, stationary building? I don’t know. How is the cultural centre project different from the buildings such as the shop, the club, the arts centre and the school? It is for everyone, the cultural centre is everyone’s history, it is central to their story and central in location. The brief expresses a desire to share the Gurindji story. It is for the

storytellers, the storey seekers, students, artists, workers and the community. What is the role, responsibilities and purpose of a cultural centre? To culturally represent a group of people through a genuine understanding of their past. The key design question I believe is at the core of the client’s brief and I will seek to architecturally response to in this project:

GOAL 1: A SPACE FOR THE COMMUNITY TO USE AND ENGAGE

DESIGN RESPONSE: SHADED PATHWAYS, SITTING FOR GROUPS, ENGAGE WITH FUN AND ART

MOTIVE: GIVE BACK TO THE COMMUNITY, GOVERNMENT GRANT APPLICATIONS

FOR WHO? COMMUNITY, ARTISTS, STUDENTS, YOUTH

GOAL 2: A SPACE TO EXPRESS GURINGJI CULTURE

DESIGN RESPONSE: STORE, DISPLAY AND SHARE MEMORIES THAT REPRESENT CULTURE AND PAST

MOTIVES: ACKNOWLEDGMENT, CELEBRATE, RESPECT, PROTECTION OF ARTIFACTS

FOR WHO? FUTURE GENERATIONS, OLDER GENERATIONS, ARTISTS

GOAL 3: KALK AS A TOURIST DESTINATION

DESIGN RESPONSE: DISPLAY AND SALE OF LOCAL ART

MOTIVES: INCOME, BUSINESS, ENTERPRISES, ECONOMICS

FOR WHO? TOURISTS, FUTURE EMPLOYEES

Understanding key concept mapping | Framing a design question process

What makes someone feel culturally represented and understood? I believe the answer is in listening and hearing to understand. 123

FRAMING A DESIGN QUESTION

Critical Reflection on Brief

DESIGN THINKING PROCESS The design framing question exercise looks at the importance of clients motives, for example; profit, service, core values. The exercise is set up to be used with built form and looks at the impact of the tension between architecture, client, everyday users, resources and policies. As a situational analysis, it aims to re-human the process of understanding a brief. I strongly believe every architectural response needs to be designed

CULTURAL CENTRE for the user’s experience and the environment above all else. Through understanding the motives between program, service, values, resources, funds, users and current norms and rules you can start to question why the solution is a built form. Is there another way to achieve the desire and need that isn’t a new building? question why the solution is a built form. Is there another way to achieve the desire and need that isn’t a new building?

REFLECTION Embedded in design thinking, evidencebased design and decision theory is the idea of change-makers (rule-breakers). Understanding the core values behind an architectural brief is a fundamental driver of a program. I believe architects need to stop designing programmatic solutions based on the solution of consumerism and to seek out to solutions through an understand the users. Understanding the desire for an architectural 124

response is where all design can start. Imagine if you were able to solve the desire for an architectural response with a building that grows with the users and adapt to their ever-changing and inevitable different needs. I look towards theories such as cradle-tocradle to design for a time but not all time. I think there is an opportunity in this project to explore how as your understanding grows so can your building.

COMMUNITY MEMBERS ARTISTS

STUDENTS PUBLIC, FUTURE GENERATIONS

TOURISTS, VISITORS, CONSUMERS

SITE LANDSCAPING PLACEMAKING ART SPACES GATHER AND SPEAKING STORAGE

DISPLAY LEARNING AREAS TALKING SPACES LAND BASED LEARNING DANCING SPOTS INTERACTIVE LEARNING

DISPLAY LEARNING AREAS RETAIL PARKING SITTING IN SHADE INTERESTING SPACES

Framing a design question excercise | Theory by Graham Brawn

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KARUNGKARNI ART & CULTURE CENTRE

Generate design ideas and forms

ESQUISSE 1 - ART SPACE This design esquisse was to explore the Karungkarni Art and Culture Centre. My design explores the concept of sculptural art displays, that can be used as storage, be interactive for users & adaptive for events. I explore the concept of expansion and contraction and how an art space that can adapt between events and everyday use.

The main themes my frame design explored are: • Engagement (through rotation and height) • Active art space (leaving the existing workspace and displaying temporarily) • Adaptable (usable and modular with stacking and turning)

Users can interact with the frame structure will encourage engagement and storytelling. Through expansion and contraction, the frame can grow with an arrangement (stacking on top of one another). It also can display two canvas’ per frame, storage and display under framed canvas’.

Group idea generation in Studio

Framing Precedence Study 126

127

FRAME REQUIRES SPACE TO ROTATE (DxW)

BUTTERFLY SCREWS FRONT VIEW

TOP VIEW

FRONT VIEW IN ROTATION

BACK VIEW IN ROTATION

BACK VIEW

TOP VIEW

Frame Design

128

THE STABLE EXTERNAL TIMBER FRAME STRUCTURE CAN STAND FREELY AS WELL AS BEING STACKED ONE ON TOP OF ANOTHER

STEEL ROD AND FRAME CLASP ACTING AS ROTATION ELEMENT ROD END FORMS INTO A FLAT-HEAD PLATE TO BE CLAMPED BETWEEN TWO TIMBER FRAMES ALONG WITH THE CANVAS THE INTERNAL TIMBER FRAME CLAMPS TOGETHER TWO PAINTINGS & ROTATION ROD WITH TWO BUTTERFLY SCREWS

Frame Construction

129

DESIGN GOALS: FREEDOM DAY • DISPLAY ART • PROMOTE & SELL ART • DIVERSITY OF SCALE TELL STORIES • ROTATION AND HEIGHT • SPACES TO GATHER

• INTERACTION WITH FRAME

PASSING KNOWLEDGE • DISPLAY ART AT AN INTERACTIVE LEVEL • CLUSTERING FOR SMALL GROUP TO

HAVE CONVERSATION

Art Centre Existing | Site

Frame Arrangement | On Site

FLOOR PLAN 100

130

250

500

1000

131

132

133

PEER REFLECTION ESQUISSE 1 ART SPACE DISCUSSION FROM CLASS Key learnings from peer presentations were: - Using precedents to convey ideas is helpful - Having good movability was important to the community. - A catchy name like ‘art cart’ is good to get the audience on board. - Storage and functional elements are really important when you have a real-life client - The user has to see themselves using it. This is important when you are designing as a tourist. Understanding the user need for low maintenance storage and displays was a consistent comment. - Displays for art not on canvas frames were very important. This was translated well in my design. It was presumed by many students that the art would be on frames, similar to how we in Melbourne experience art, but in the photos and stated in the initial consultation, the canvas’ were frameless. This was a good reminder about making presumptions and questioning how things work in a different remote town.

134

Bronte’s Project

Damien’s Project

Gaby’s Project

Bronte’s Project

Gaby’s Project

Damien’s Project

Gaby’s Project

135

REFLECTION Penny and Phil expressed in consultation a prefered for non-linear and de-centralised gallery spaces. In consultation, a strong desire for ease to set-up, ease of wayfinding, low maintenance and passive cooling spaces were encouraged.

GALLERY SPACE - CENTRALISED 136

GALLERY SPACE - DE-CENTRALISED 137

REFLECTION Penny and Phil expressed in consultation a prefered for nonlinear and de-centralised gallery spaces. In consultation, a strong desire for ease to set-up, ease of wayfinding, low maintenance and passive cooling spaces were encouraged.

GALLERY SPACE - NON-LINEAR

138

GALLERY SPACE - LINEAR

139

04. IDEA GENERATION Exploring the brief, site, cultural understanding, methods, conceptual planning and materials. I aim to use an iterative process of growth and refinement to explore design ideas.

140

141

DESIGN RESPONSE My design process started with the acknowledgment of an absence of understanding, I have never visited Kalkarindji. I strongly believe the architecture needs to be a facilitator of design opportunities and to provide for the user with moments to express and engage with the space during the construction period, not solely after. With a user-focused approach, I wanted to understand who will use the building, and how what grouping they might use it in and how they might interact with a building

142

143

UNDERSTANDING THE SITE

Concept Development and Site Analysis

DA GU

RA GU

RO AD

THE CLUB

SITE ANALYSIS SCHOOL

The site is located in the heart of town, between two main entries one from Katherine and the other from Daguragu. The site sits within the main axis between through the arts centre, shop, school, council building and the club. Towards the south, it has views towards the hills and topography grades down towards victoria river. Strong hot easterly winds, bringing up dust. It has hot sun throughout the day (more details in sun path analysis in detail design). This diagram is outlining the current user desired paths throughout the site

EASTLY WINDS

PARK COUNCIL BUILDING

SITE

BUNTINE HW

SHOP INE

USER 1:

O FLO

W VIE

ILLS

H TO

USER 2: LOCAL ARTIST

ARTS CENTRE

RIVER

COMMUNITY MEMBER

USER 3: STUDENTS

USER 4: VISITORS / TOURISTS

SITE: FOOTPRINT BOUNDARIES

144

100M

SITE ANALYSIS USER DESIRED PATHS, CONTEXT & TOPOGRAPHY 145

USERS EXPERIENCE THROUGH SITE

Concept Development and Site Analysis

PROJECTS SITE LOCATION This photograph shows the desire paths used by cars and people presumably. I propose the cultural centre to sit at the highest point of the site overlooking the hills.

146

147

USERS EXPERIENCE SPATIAL PROGRAM DIAGRAM

SMALL GROUPS

With a user-focused approach, I wanted to understand who will use the building, and how what grouping they might use it in and how they might interact with a building

MEDIUM GROUPS

SITTING, YANNING, PAINTING

FAMILIES PLAYING, WATCHING, RUNNING

VISITORS WALKING, LOOKING, LISTENING, LEARNING

EMPLOYEES ORGANISING, MEETINGS, TALKING

BIG GROUPS DANCING, SPEAKING, GATHERING, STORYTELLING

148

STAGE 1

STAGE 3

STAGE 1

STAGE 2

STAGE 1

STORYTELLING, PLAYING, COOKING

ARTISTS

STUDENTS

COMMUNITY

VISITOR

149

STAGED DESIGN CONCEPT

Concept Development and Diagramming Thinking

TEMPORAL DIAGRAM PLAY SIT

NOW

SIT

SIT SPEAK

SPEAK

STAGE 1

DANCE

GALLERY DANCE

GALLERY

STAGE 2

SHADY SPOTS

ENTERPRISE ENTERPRISE ENTERPRISE GALLERY

STAGE 3

ARTIST SPACE OUTDOORS

FUTURE

PRIVATE VIEWING ROOM

PAVILION

SITTING AREA

PLAY GROUND

DANCE SPEAK

ARTIST SPACE ARTIFACTS

FIRE PIT MEETING SPACE

SHELTERED SPACE

VISITOR CENTRE

20 - 40 PEOPLE OUTSIDE

GALLERY AMENITIES

PLAY

STORAGE

PLAY

DANCE SPACE

outlines the staging process of building a cultural centre that grows from a place to play and sit, to one with space for storytelling, dancing, gathering, to enclosed areas for enterprises.

OUTDOOR CINEMA

This concept was explored by looking at how a building can grow over time, pausing for the artists to express culture and for the community to engage with space through activity, art and play. I wanted to overlay the program with staged design so a building can provide moments where the architecture is built and then stops to provide opportunities for community engagement. This diagram

LEARNING SPACES

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151

COMMUNITY USER PROFILE DESIGN PROCESS (INDICATIVE ONLY) DISCLAIMER: STATEMENTS ARE BASED ON MY INTERPRETATION OF ACTIVITIES EXPRESSED IN COMMUNITY CONSULTATION WITH PENNY AND PHIL. SOME STATEMENTS ARE MY GENERALIZATION OF WHAT THE USER MIGHT LIKE TO DO AND SEE IN A CULTURAL CENTRE. REAL COMMUNITY CONSULTATION IS REQUIRED TO CREATE ACCURATE USER PROFILES. THEY ARE WRITTEN IN 1ST PERSON TO CREATE USER PROFILES FEEL AND I HAVE USED THEM TO HELP MY DESIGN DECISIONS AND USER ANALYSIS.

COMMUNITY

152

- Hopes for a space that community events can happen - Loves to celebrate their Indigenous history and the community Gurindji people - Activities for kids - Likes to sit by the fire for a yan - Currently walk through the space to get from home, club, school to shop

153

ARTIST USER PROFILE DESIGN PROCESS (INDICATIVE ONLY) DISCLAIMER: STATEMENTS ARE BASED ON MY INTERPRETATION OF ACTIVITIES EXPRESSED IN COMMUNITY CONSULTATION WITH PENNY AND PHIL. SOME STATEMENTS ARE MY GENERALIZATION OF WHAT THE USER MIGHT LIKE TO DO AND SEE IN A CULTURAL CENTRE. REAL COMMUNITY CONSULTATION IS REQUIRED TO CREATE ACCURATE USER PROFILES. THEY ARE WRITTEN IN 1ST PERSON TO CREATE USER PROFILES FEEL AND I HAVE USED THEM TO HELP MY DESIGN DECISIONS AND USER ANALYSIS.

ARTISTS

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- I use the space every day, it is my workplace - I like spending time with my friends outside - When the weather is nice, I like to paint outside on the ground â&#x20AC;&#x201C; sometimes it gets messy - I like to paint country and landscape, so I want to see the hills, nature, view and trees. - It gets hot in our current workshop

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STUDENT USER PROFILE DESIGN PROCESS (INDICATIVE ONLY) DISCLAIMER: STATEMENTS ARE BASED ON MY INTERPRETATION OF ACTIVITIES EXPRESSED IN COMMUNITY CONSULTATION WITH PENNY AND PHIL. SOME STATEMENTS ARE MY GENERALIZATION OF WHAT THE USER MIGHT LIKE TO DO AND SEE IN A CULTURAL CENTRE. REAL COMMUNITY CONSULTATION IS REQUIRED TO CREATE ACCURATE USER PROFILES. THEY ARE WRITTEN IN 1ST PERSON TO CREATE USER PROFILES FEEL AND I HAVE USED THEM TO HELP MY DESIGN DECISIONS AND USER ANALYSIS.

STUDENTS

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- We visit the cultural centre a couple of times a year, needs a walking distance - I love the interactive spaces, watching videos and hearing stories - Needs a good spot for lunch and space to run about - I like to see my past, seeing family images and one day I want to work as an artist here

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TOURISTS USER PROFILE DESIGN PROCESS (INDICATIVE ONLY) DISCLAIMER: STATEMENTS ARE BASED ON MY INTERPRETATION OF ACTIVITIES EXPRESSED IN COMMUNITY CONSULTATION WITH PENNY AND PHIL. SOME STATEMENTS ARE MY GENERALIZATION OF WHAT THE USER MIGHT LIKE TO DO AND SEE IN A CULTURAL CENTRE. REAL COMMUNITY CONSULTATION IS REQUIRED TO CREATE ACCURATE USER PROFILES. THEY ARE WRITTEN IN 1ST PERSON TO CREATE USER PROFILES FEEL AND I HAVE USED THEM TO HELP MY DESIGN DECISIONS AND USER ANALYSIS.

TOURISTS

Local Visitor - Works locally, come into town for a meeting or home visit - Would like to get a cuppa and a sandwich and wants to sit on a chair in the shade - Loves buying and seeing the local art - Needs somewhere easy to find, central and comfortable Tourist (visitor) - Travelling around Australia - Loves the outback and exploring Northern Territory - Would like to learn about the Indigenous history of the Gurindji people - Wants a feed or coffee in the shade

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PRELIMINARY DESIGN OPTION REFLECTION ON DESIGN The staging concept has so much potential and I strongly believe the architecture needs to be a facilitator of design opportunities and to provide for the user with moments to express and engage with space during the construction period, not solely after. With a user-focused approach, I wanted to understand who will use the building, and how what grouping they might use it in and how they might interact with a building. It was important to realign with this concept. This design was

focusing on the centring and closing in of the community around a ‘desired path’. While interesting it does not best represent the design and concept. At the core of my project is an architectural project that responses through staging a build. The iterative design allowed me to take the design forward and create a project with the developed concept and values and represent into a different form and spatial planning.

RAGU DAGU

Sta ge

Outdoor Cinema

Private Artifact View ing Room 113 m²

Storage 46 m²

Learning Space 105 m²

Cafe 83 m²

Artist Workshop 152 m²

Media Room 17 m²

Audio Visual Room 106 m²

Gathering Space

Circulation 52 m²

Gallery 136 m²

Visitor Centre 18 m² Toilets 9 m²

Offices 8 m²

BUNTINE HWY

160

10 M

20 M

161

A PLACE FOR CULTURAL EXPRESSION

Concept Development and Diagramming Thinking

CONCEPT EXPLORATION A building that only considers the present user would be one based on sole programmatic design, thus a community hub or visitors centre, depending on your client’s economic desire. A visitor centre or community can host activities, events and facilitate affordances, but they are just a facility, they don’t remember the past and lack a community-driven future investment.

STORIES

MEMORY RETAINING A building that only considers the future, is not building at all, it is just an idea. This diagram outlines my thinking about what a cultural centre is at the moment and what a centre could be if the concept was based on memorymaking, memory-retainment and imagination.

PAST

162

OBJECT

MEMORY MAKING PRESENT

PLACE

GATHERING

IMAGINATION

COMMUNITY HUB

PEOPLE

CULTURAL CENTRE

PLAY JOBS HOPE

together? Research shows when scanning the brain on participants almost identical neurons light up in the brain when someone remembered a past experience compared to when they imagined future events. As we let the mind wander, it switches back and forth all the time from remembering to imagining. As it weaves together the memories of the past and dreams of the future it creates a sense of self.

MEMORIAL LANDSCAPES

ACTIVITY

REFLECTION I think to be a successful cultural centre you need to embody a balance between the past, present and future. With only memory retainment, you have a memorial space, that holds time still and doesn’t move forward. How can a building represent memory retainment, making and future potential? Memories tell us who we are and where we came from. But how does our mind link the future and the past

ART

CHILDREN

POTENTIAL, SENSE OF BELONGING & OWNERSHIP

POTENTIAL FUTURE

CHANGE PLANNING

Diagram of Design Thinking | Defining what a Cultural Centre is 163

A PLACE FOR LEARNING

Concept Development and Diagramming Thinking

CONCEPT EXPLORATION How can a building support, enable and facilitate different types of interaction? What is the process of knowledge production, knowledge storage

in oral cultures, how it is transmitted and produced and how is it shared in Indigenous communities?

164

THE IMPORTANCE OF UNDERSTANDING

CORE VALUE LEARNINGS

THE LAND AND HOW EVERYTHING IS

THROUGH A BODY OF KNOWL-

CONNECTED TO PLACE AND COUNTRY.

EDGE, IDEOLOGY, SPIRIT, STORY & LAW.

REFLECTION It is important to consider the set protocol and rules about how it is transferred and done, you need permissions to introduce content and it can be withdrawn at any time. There are different protocols around sharing cultural content and different sharing protocols around certain groups such as gender, birth order, mob, language group and community group. How can designers interpret and share knowledge respectfully? It is about the

LAND/PLACE-BASED LEARNING: NARRATIVE-BASED LEARNING:

CORPORATIVE LEARNING:

process, not the content. It’s not the role of the architect to do the ‘what’, that is for the community to decide, it is the communities’ story and they will choose how to share them. It is about the ‘how’, how can architects and designers create spaces that will facilitate the pedagogies. Can you design spaces that can be naturally inhabited for learnings to take place? What makes a space comfortable to share knowledge?

LEARNING THROUGH INTERACTIONS WITH PEOPLE, ELDERS, FAMILIES & GROUPS

INTERACTIVE LEARNING: ENGAGING AND UNDERSTANDING RELATIONSHIPS BETWEEN PEOPLE, GROUPS AND THE LAND

Diagram of my Design Thinking | Types of Learnings/Pedagogies based on 8 WAYS model by Tyson Yunkaporta Floor Plan | Concept Planning of the Learnings/Pedagogies spaces

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A PLACE TO GATHER REFLECTION ON THE CONCEPT OF STAGES This project explores what a gathering space is and how a stage used by a small town. Asking questions like what makes a good stage or place to gather? Re-thinking the idea of a conventional western stage concept, I envisioned the stage to have elements of circulation space, to have different levelled seating and to have an area of kids to play. I explored the concept of wrapping and mounting landscape to create moments along the circulation to stop and meet. This idea of a natural place to gather was a key concept in my final design.

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DEVELOPING AN ARCHITECTURAL RESPONSE KEY LEARNINGS FROM ITERATION My design process started with this proposal looking at community, artists and visitors having a building each and central communal space in the middle. It worked off the desired paths identified in the site analysis.

I started looking at the staging process of building a place to play and sit, to one with space for storytelling, dancing, gathering, to enclosed areas for enterprise This iteration demonstrated I needed further development in the following key areas. - Mounting landscapes for play - Ledge seating and use of shade - Importance of footings and wall connection

STAGE 1 - LANDSCAPE PLAY

STAGE 2 - SHADED PAVILION PLAY

STAGE 3 - BUILDING SIT PLAY

SIT SPEAK

SPEAK

GALLERY CAFE

CAFE

COMMUNITY

PLAY AR TIS

SPEAK SIT

SPEAK

CAFE GALLERY

CAFE

DANCE

GALLERY DANCE

DANCE

168

SIT PLAY

OR SIT

GALLERY DANCE

169

Shaded Central Path Idea

Getting from club to shop in full shade 170

Site Planning | Shaded Paths along Desired Paths Concept 171

STAGE 1 - LANDSCAPE PLAY

PLAY

NOW

PLACE TO

SHARE STORIES

SIT

PLACE TO

EXPRESS MOVEMENT

STAGE 1

GATHER

PLACE FOR LUNCH

ART ARTIST SPACE OUTDOORS

TALKING SPACE

OUTDOOR CINEMA

SITTING AREA

PLACE TO

CREATE ENTERPRISES

CULTURAL CENTRE

FUTURE

STAGE 3

PRIVATE VIEWING ROOM

DANCE SPACE PAVILION

172

EXPRESS CULTURE

STAGE 2

SHADE

PLAY GROUND

PLACE TO

CAFE

ARTIFACTS MEETING SPACE 20 - 40 PEOPLE OUTSIDE

LEARNING SPACES

AMENITIES

WALK

PLACE TO

STAGE 3 - BUILDING

STORAGE

PLACE TO

STAGE 2 - SHADED PAVILION

VISITOR CENTRE ARTIST SPACE GIFT SHOP

AUDIO VISUAL ROOM

GALLERY

173

Concept Sketch - Visitor Centre Corner

174

Concept Sketch - Visitor Centre Corner

Concept Explored: How tall walls can created shaded paths

175

A tree as a meeting spot

176

Circle Gather spaces

Concept Explored - Central Courtyard space between three pavilions

177

A STUDY SITTING & SIT LEDGE HEIGHT OBSERVATION STUDY I want to explore the concept of what kinds of ledge sitting is used and how you can encourage sitting and pausing when you walk past a wall. I watch a kid run to a wall the other day, they found their perfect height for sitting and threw their scooter down just to sit there. I did a suburban observational study on the heights of walls, ledges, sits and benches. The idea was to understand what makes a ledge appealing to sit on. What barriers decrease the likelihood to engage

and what features would increase a likelihood. The images on the right are scale from least likely to likely. This study influenced the design of my 0.45cm height benches with 0.65cm depth. I found a deeper depth was more appealing to sit on. Shaded seating and dips in seating were also noted. Seating around activities was important and terraced seating towards something to watch, a view or kids playing were important to make the seats inhabited by users.

LOW & GARDEN BED

HIGH & STEPPED

INTERRUPTED

THIN AND HIGH

THIN & GOOD HIEGHT

ON CORNER WITH DEPTH

SLOPE IN CENTRE

CORNER & GARDEN SET BACK

SET OFF STREET

NATURE & SET BACK

Urban observation study - where do people sit and inhabit?

a dip in the ledge 178

access and sitting 179

Imprinting on benches - 1:1 Models

Clay Seating - Model Making 180

Clay Imprinting 1:1 prototype | Model Making Idea Generation 181

ARTIST EXPRESSION ON SITTING

182

IMPRINTING 1:1

LEDGE DIP

CENTRAL SEATING

GRADUAL GROWTH & DIPS

183

STAGE 1 - LANDSCAPE PLAY

LITTLE THINGS.

MID SEMESTER CRIT FEEDBACK REFLECTION

STAGE 2 - SHADED PAVILION

PLACE TO

PLAY

PLACE TO

ART

USER 2: LOCAL ARTIST

ARTIST SPACE OUTDOORS

PLAY GROUND

USER 3:

PLACE TO

LEARNING SPACES

FOOTPRINT BOUNDARIES

EXISTING USER FLOW PLAN

STAGE 2 - SHADED PAVILION

PLACE TO

SHARE STORIES

SIT

EXPRESS MOVEMENT

1 MONTH

PLACE TO

EXPRESS CULTURE

GATHER

3 MONTHS

PLACE FOR LUNCH

LOCAL ARTIST

ARTIST SPACE OUTDOORS

USER 3:

CULTURAL CENTRE

FACADE CONCEPT DEVELOPMENT

9 MONTHS

PRIVATE VIEWING ROOM

CAFE

ARTIFACTS MEETING SPACE 20 - 40 PEOPLE OUTSIDE

STORAGE

SITTING AREA

ART

USER 2:

PLAY STAGE 2 - SHADED PAVILION GROUND

PLACE TO

CREATE ENTERPRISES

6 MONTHS

DANCE SPACE OUTDOOR CINEMA

USER 1: COMMUNITY MEMBER

STAGE 1 - LANDSCAPE PLAY

Site Analysis and Program Concept

STAGE 3 - BUILDING

SHADE PAVILION

GALLERY

AUDIO VISUAL ROOM

SITE:

PLACE TO

PLAY

VISITOR CENTRE ARTIST SPACE

USER 4:

AMENITIES

PLACE TO

WALK

CAFE

VISITORS / TOURISTS

STAGE 1 - LANDSCAPE PLAY

NOW

PRIVATE VIEWING ROOM ARTIFACTS

20 - 40 PEOPLE OUTSIDE

GIFT SHOP TALKING SPACE

STUDENTS

presumably felt unconventional. Key challenges to move forward with are how the buildability of the project will express the concept. Looking in detail at the junctions and connections of the staging. This presentation gave me the sense the concept has real potential and it just needs to be executed in design development well.

9 MONTHS

MEETING SPACE

STORAGE

PLACE FOR LUNCH

CULTURAL CENTRE

CREATE ENTERPRISES

6 MONTHS

DANCE SPACE

SITTING AREA

PLACE TO

EXPRESS CULTURE

GATHER

3 MONTHS

OUTDOOR CINEMA

USER 1: COMMUNITY MEMBER

PLACE TO

EXPRESS MOVEMENT

1 MONTH

SHADE

REFLECTION AND KEY LEARNINGS

A building process that consists of a series of small interventions, sewn together over time affording the patience for gradual expression, reflection and engagement.

PLACE TO

SHARE STORIES

SIT

AMENITIES

PLACE TO

WALK

NOW

PAVILION

Exploring the concept of staged design was received well. The architectural response as more mixed reviews. The mid-semester crit was a good time LITTLE THINGS. to express my thinking and to go through my ideas in a linear fashion. Experimenting with a long tapestry presentation board, I can reflect it was not effective in translating ideas on zoom. It was hard to move through and

STAGE 3 - BUILDING

A building process that consists of a series of small interventions, sewn together over time affording the patience for gradual expression, reflection and engagement.

PLAY

STAGE 1 - LANDSCAPE PLAY

VISITOR CENTRE

SIT2 - SHADED PAVILION STAGE

SPEAK

CAFE

PLAY

SIT

SPEAK

DANCE

GALLERY

CAFE

STAGE 3 - BUILDING

ARTIST SPACE GIFT SHOP

STAGE 3 - BUILDING

TALKING SPACE

SOUTH FACADE ELEVATION

LEARNING SPACES

STUDENTS

SPATIAL RELATIONSHIP SKETCH

GALLERY

AUDIO VISUAL ROOM

USER 4: VISITORS / TOURISTS

PLAY

SIT

SPEAK

PLAY

SIT

SPEAK

DANCE

GALLERY

CAFE

DANCE

GALLERY

CAFE

DANCE

GALLERY

SITE: FOOTPRINT BOUNDARIES

Staging Concept

EXISTING USER FLOW PLAN

STAGE 2 - SHADED PAVILION

RAGU DAGU

STAGE 1 - LANDSCAPE PLAY

STAGE 3 - BUILDING

PLACE TO

WALK

PLACE TO

PLAY

SHARE STORIES

SIT

PLACE TO

EXPRESS MOVEMENT

PLACE TO

EXPRESS CULTURE

GATHER

PLACE TO

CREATE ENTERPRISES

CULTURAL CENTRE

Outdoor Cinema

Sta ge

NOW

1 MONTH

3 MONTHS

6 MONTHS

9 MONTHS

COMMUNITY MEMBER

LOCAL ARTIST

SITTING AREA

USER 3: USER 2:

PLACE FOR LUNCH

STUDENTS

ART

LOCAL ARTIST

USER 3:

ART

ARTIST SPACE OUTDOORS

PLAY GROUND

PLACE TO

EXPRESS CULTURE

CULTURAL CENTRE

9 MONTHS PLACE FOR LUNCH PRIVATE VIEWING ROOM

DANCE SPACE

ARTIFACTS MEETING SPACE

PLAY

20 - 40 PEOPLE GROUND OUTSIDE

PLACE TO

CREATE ENTERPRISES

PAVILION

6 MONTHS

CAFE

ARTIST SPACE OUTDOORS

ARTIST SPACE

TALKING SPACE

DANCE SPACE

Storage 46 m²

ARTIFACTS MEETING SPACE 20 - 40 PEOPLE OUTSIDE

PLAY

STAGE 1 - LANDSCAPE PLAY

VISITOR CENTRE

Learning Space 105 m²

FACADE CONCEPT DEVELOPMENT

SIT2 - SHADED PAVILION STAGE

SPEAK

PLAY

SIT

SPEAK

Cafe 83 m²

Artist Workshop 152 m²

STAGE 3 - BUILDING

Circulation 52 m²

Gallery 136 m²

Visitor Centre 18 m² Toilets 9 m²

Offices 8 m²

HW BUNTINE

ARTIST SPACE GIFT SHOP PLAY

STAGE 1 - LANDSCAPE PLAY

VISITOR CENTRE

Gathering Space

CAFE

SIT2 - SHADED PAVILION STAGE

SPEAK

PLAY

SIT

SPEAK

LEARNING SPACES

10 M

20 M

FLOOR PLAN

GALLERY

AUDIO VISUAL ROOM

STAGE 3 - BUILDING

GIFT SHOP TALKING SPACE

USER 4:

STUDENTS

OUTDOOR CINEMA

PAVILION USER 1:

PLACE TO

GATHER

SITTING 3 MONTHS AREA

COMMUNITY MEMBER

USER 2:

SHADE

PLACE TO

EXPRESS MOVEMENT

USER 1:

1 MONTH

STORAGE

SHARE STORIES

SIT

AMENITIES

PLACE TO

OUTDOOR CINEMA

PLAY

STORAGE

PLACE TO

AMENITIES

PLACE TO

WALK

NOW

PRIVATE VIEWING ROOM

Media Room 17 m²

Audio Visual Room 106 m²

Private Artifact View ing Room 113 m²

SHADE

LEARNING SPACES

AUDIO VISUAL ROOM

PLAY

GALLERY

VISITORS / TOURISTS

PLAY

USER 4: VISITORS / TOURISTS

SIT

SPEAK

PLAY

SIT

SPEAK

DANCE

GALLERY

CAFE

DANCE

GALLERY

SIT

SPEAK

PLAY

SIT

SPEAK

GALLERY

CAFE

DANCE

GALLERY

CAFE

SOUTH FACADE ELEVATION

DANCE

GALLERY

CAFE

SPATIAL RELATIONSHIP SKETCH

DANCE

GALLERY

CAFE

SITE: FOOTPRINT BOUNDARIES

EXISTING USER FLOW PLAN

Program Diagram | Cultural Centre Mid-Semester Crit DANCE

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GALLERY

CAFE

DANCE

GALLERY

Floor Plan

CAFE

DANCE

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05. CONCEPT DESIGN The conceptual and schematic design of the Kalkaringi cultural centre. It will explore methods, materials, technical resolution, form, function and communication methods and develop architectural forms appropriate to the design brief.

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STAGING CONCEPT I propose a design concept that explores how a building can grow over time, pausing for the artists to express culture and for the community to engage with space through activity, art and play. I wanted to overlay the program with staged design so a building can provide moments where the architecture is built and then stops to provide opportunities for community engagement. This diagram outlines the staging process of building a cultural centre that grows from a place to play and sit, to one with space for storytelling, dancing, gathering, to enclosed areas for enterprises. Looking at the project as a series of key spaces and how gradual growth allows for incremental ownership and identity to place. If a new opportunity presents itself this process allows for an opportunity to sew the project together differently. 188

189

DESIGNING A CONSTRUCTION PROCESS CONCEPT EXPLORATION

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PLAY SIT

NOW

SIT

SIT SPEAK

SPEAK

3 MONTH

SITTING AREA ARTIST SPACE OUTDOORS

PLAY GROUND

DANCE

GALLERY DANCE

GALLERY

ENTERPRISE ENTERPRISE ENTERPRISE GALLERY

8 MONTHS

1 YR

PRIVATE VIEWING ROOM

PAVILION ARTIST SPACE DANCE SPACE

the existing paths and questioned what value it was adding to my design. It was a critical point in my design when I let go of the central path sitting in the middle of my design. Letting go of the idea allowed me to consider the topography and create a new experience on the highest point of the site. Users can still use the existing path as access to their existing facilities and to approach the cultural centre users now experience a journey through a water play area up a slight incline to a curved roofed building reflecting the hills and shaded spots looking at the view.

DANCE SPEAK

5 MONTHS

SHADY SPOTS

REFLECTION Looking at a design strategy that begins with the existing flows. I wanted the building to reflect the desired paths. Looking at an ariel image of the site, mapping the paths that are worn down over time. The design process started with flows and circulation, the building was folded around the central path between the townâ&#x20AC;&#x2122;s club and shop. It was to increase the accidental experience of the cultural centre by situating the building around an existing path. However, this selfimposed design rule overall constricted my design thinking. Towards the end of the semester, I re-evaluated why I was using

PLAY

ARTIFACTS

FIRE PIT MEETING SPACE

SHELTERED SPACE

VISITOR CENTRE

20 - 40 PEOPLE OUTSIDE

GALLERY AMENITIES

PLAY

STORAGE

are sewn together seamless looking at the concept of how a building can grow as the understanding does. Small interventions with the opportunity for expression and engagement create a cycle of direction for growth and can strengthen the connection between place and people.

OUTDOOR CINEMA

How can you design for emotional of feeling understand? I think one way you could do this is by providing opportunities for expression and engagement through the implementation of smaller interventions. To design a construction process that grows from engagement. How overtime spaces

LEARNING SPACES

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DESIGN FRAMEWORK DEVELOPING A SET OF DESIGN RULES 1. Staged construction period to encourage engagement and expression 2. Safe when unfinished. Always ongoing and growing. Always useable and can be engaged with. The project is never finished, you can make new parts over its life. 3. Ease of construction and to maintain. Not reinventing the wheel and take systems that already work, adapting them for your needs. 4. Building strategies that plans for an adaptive future.

Concept Diagram - How a building can grow over time

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Concept Sketch - Roof Profile

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Concept Sketch - Water play area

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197 Concept Sketch - North Entry

ARCHITECTURAL FORM DESIGN CONCEPT DESIGN The architectural form reflects three pavilions sitting at the highest point of the site overlooking the hills. To provide an interesting entry to town as it is the first thing you see when you drive over the bridge. The design of the curved roof and reflects the organic shape of the adjacent hills.

Form Finding using Ipad draw tool to experiment with shadow and paths 198

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Concept Sketch - Outdoor Cinema

Concept Sketch - Outdoor Cinema Wall

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FORM FINDING MODEL MAKING AS A DESIGN TOOL - Tactile experience - Easy to mould and change - Iterative experience - Using clay to mould earth and paths - Light and shadow play - Folding and experimenting with roof touching the ground

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ARCHITECTURAL FORM PROCESS MODEL MAKING AS A DESIGN TOOL - Users can still use the existing path as access to their existing facilities - To approach the cultural centre users now experience a journey through a water play area up a slight incline - The curved roofed building reflecting the hills and provides shaded spots to sit looking towards the view.

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School Village by Kere Architecture

Thread - Artist Residency and Cultural Centre 207

DESIGNING FOR MODULAR MINIMALISM REFLECTION - The floor plan is designed to be an open plan, modular and minimal to provide flexibility and efficient use of space. If the amenities are to one side of the building and centre if left open with the higher ceilings - The intent behind working on a 3x3 grid is a standardised system and the flexibility of planning. If the community desires to build a visitor centre before the artist workshop you could just flip it. This allows for change aligned with my design concept.

208

- The concept of working with a modular system is important for accessibility and getting materials to a regional town - I wanted the community to be able to build it themselves. I looked at precedences like Wiki House that create a template that is downloadable for the every-man. Open-source designing can be the answer in providing â&#x20AC;&#x2DC;goodâ&#x20AC;&#x2122; design accessible to different diversity of groups in regional and remote locations.

Wiki House

Concept Sketch - Experience

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Concept Sketch 210

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DESIGN DEVELOPMENT & RESOLUTION FORM GENERATION The architectural form reflects three pavilions sitting at the highest point of the site overlooking the hills. To provide an interesting entry to town as it is the first

STAGE 1

STAGE 3

thing you see when you drive over the bridge. The design of the curved roof and reflects the organic shape of the adjacent hills and landscape.

STAGE 1

STAGE 2

STAGE 1

ARTISTS

STUDENTS

COMMUNITY

VISITOR

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DESIGNING FOR STAGING CONCEPT EXPLORATION Exploring the idea of how a building can grow over time, pausing for the artists to express culture and for the community to engage with space through activity, art and play. I wanted to design a building that provided moments where the architecture is built and then stops to provide opportunities for engagement and direction. If something is not working

for the community and users or if a new opportunity presents itself there is an opportunity to sew the project together differently. Looking at the project as a series of key spaces and how gradual growth allows for ownership and identity.

Stage 1

REFLECTION The unconventional approach requires some innovative thinking and planning to be conveyed as appealing. Exploring the idea of materials that complement this kind of construction process is fundamental for the integrity of the concept. Looking at materials need the time to dry or can grow with the building is a golden ticket in selling a less conventional building approach to a town that is used to and familiar with 214

a conventional approach. Materials I will start to explore will be mud bricks that need time to dry, seamless connection techniques to be designed to build in stages and looking into materials that grow in the climate.

Stage 2

Stage 3

215

ARTIST GARDEN

VISITOR CENTRE

SHADED PAVILION

ARTIST WORKSHOP

FIRE PIT

SECTIONAL PERSPECTIVE CULTURAL CENTRE | CONCEPT DESIGN 216

217

ARTIST GARDEN 218

STORAGE AMENITIES

VISITOR CENTRE

GALLERY 219

OUTDOOR CINEMA 220

SHADED PAVILION

TERRACE SEATING

STORMWATER RUNOFF 221

PRIVATE ARTIFACT ROOM 222

ARTIST WORKSHOP

STORAGE

FIRE PIT 223

AN ITERATIVE DESIGN PROCESS REFLECTION ON THE DESIGN PROCESS My Bower 2020 design process explores an iterative process of observations, data collection, idea generation, design prototyping, feedback and evaluation. To create a feedback loop. The idea was to create a well-developed concept and purpose intention and to be flexible about the architecture response outcome.

Architecture can be achieved in many ways through site response, cultural understanding, methods, conceptual planning and materials. This project was user-focused so building a brief was a main conceptual driver.

REFLECTION My building may seem to jump around a bit, with different forms, functions and solutions, refer to the right hand of the page, however, this was very intentional. This semester I wanted to design, tested and materialised to a technical resolution that was able to be conveyed and communication but was also very quick. Each presentation this semester was a testing of a prototype to drive my design refinement, feedback and evaluation. I made sure each presentation was a different style to refine how to present. I moved around with materials, ideas, forms and textures. This 224

would not have been successful if I had not set up a strong conceptual understanding and brief that drove my design throughout the semester. Each prototype and presentation evaluated if I was successfully translating my user engagement concept through an architectural response. Upon reflection, the process was semisuccessful. I would often be stuck developing ideas from pervious feedback when I should have moved to the next iteration. I think this process will take time to develop but overall some aspects were testing and developing materialisation of ideas. 225

06. DETAIL DESIGN The development of the design including refinement, feedback, evaluation and technical resolution. To demonstrate appropriate technical resolution and design decisions for a response to the site, materials, ESD, political/cultural environment, form/function.

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SMALL PROJECTS FOR USER ENGAGEMENT REFLECTION When the design is planned to pause, it encourages and allows users to express art and culture and engage with the building through play, movement and yanning. My design explores the concept of how a building can grow over time, pausing for the artists to express culture and for the community to engage with space through activity, art and play. I

wanted to overlay the program with staged design so a building can provide moments where the architecture is built and then stops to provide opportunities for community engagement. This diagram outlines the staging process of building a cultural centre that grows from a place to play and sit, to one with space for storytelling, dancing, gathering, to enclosed areas for enterprises.

PLAY

228

Kalk on Freedom Day

SIT

SPEAK

PLAY

SIT

DANCE

GALLERY

SPEAK

DANCE

ENTERPRISE

229

Watch a Film 230

Tree planting and looking after plants

Paint a mural 231

232

Concept Sketch - Artist Mural Seating

Concept Sketch - Artist Mural 233

ARTIST MURAL WALL REFLECTION In stage 1 the design looks at the small interactions through a central pavilion, an artist mural and water play area. I wanted to understand the importance of art in Kalkaringi. My design response explores how over time the mural wall is sewn together into the main

234

enclosed gallery wall. When the design is planned to pause, it encourages and allows users to express art and culture and engage with the building through play, movement and yanning. As well as for the designer to observe, reflect and change depending on the desires.

235

FROM LITTLE THINGS BIG THINGS GROW CONCEPT DEVELOPMENT This concept was explored by looking at how a building can grow over time, pausing for the artists to express culture and for the community to engage with space through activity, art and play. I wanted to overlay the program with staged design so a building can provide moments where the architecture is built and then stops to provide opportunities for community engagement.

236

The placemaking is at the pause moments in the staging process when the building is a place to play and sit, the kids can plant trees, the artist can paint and the families can enjoy the landscape play. At the stage, 2 space can be for storytelling, dancing, gathering. families can cook up in the fire pit with the kitchenette and the pavilion can be used to watch a film.

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ADVENTURE PLAYGROUNDS REFLECTION ON KIDS PLAY AREAS In a theory by Carl Theodor Sorensen (1945) looks at how places for kids to dig, build and invent on their own allow for taking risks and making choices. The junk playground are ultimate designed by the kids themselves implemented by landscape architects, such as Margeogy Allen the adventure playground builds up a sense of confidence

242

in themselves and as it is controlled risk kids feel like they are discovering things and learning. My water play area is designed with loose parts, for kids to make choices and move around more, elements are robust and durable but provide a risk safely so kids can play, get muddy and jump and learn.

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A STUDY ON LANDSCAPE PLAY & RAINWATER COLLECTION DESIGN REFLECTION ON WATER PLAY IN THE DESIGN Designed to evolve over time, users are invited to look deeper to see the layers and seasonal change within the landscape. This approach has had a real resonance with the people of Melbourne, these projects have a deep building appreciation, engagement and respect. Projects that not only collect water but give kids areas to interact with and learn in. If you have ever seen kids have fun with water you will know what I mean, it is pure joy. My design looked to local examples to

understand how learning from horticultural and landscape has been designed for rainwater collection, education and fun. seating and to have an area of kids to play. I explore the concept of wrapping and mounting landscape to create moments along the circulation to stop and meet. This idea of a natural place to gather was a key concept in my final design.

Royal Childernâ&#x20AC;&#x2122;s hospital | Melbourne 244

245

DESIGNING A ROOF TO COLLECT WATER REFLECTION ON ROOF DESIGN The wall is curved to the ground to move the water to the terrace sitting with a split in the two pavilions. The water runs into a natural aggregate runoff system that feeds into a water play area for kids to splash, jump and enjoy. An overflow is designed as a channel underneath in heavier rains. Exploring precedents of Thread by Tokisho Mori Architects and Teachers Houses by Kere Architecture. Both projects understand their climate and the importance of collecting

water. In Kalkaringi, it is too risky to store or drink rainwater due to bacteria growth. This stimulated the idea of a water feature, a fun temporal experience that uses rainwater collection techniques to flow the water along roofs and in channels for fun, joy and excitement and a way to cool off in the heat.

Thread by Tokisho Mori Architects 246

Teachers Houses by Kere Architecture

247

BUILDABILITY & CONSTRUCTION REFLECTION ON DESIGN THINKING My design response sought a solution that promotes ease of construction, exploring conventional modular systems and how they can come together in alternatively to complement a staged build. Upon reflection, it became clear during presenting and communicating the importance of familiarity or conventional system. Ease of construction is just

recognised through understanding as new technologies. This realisation was a major breakthrough in my design process, I reevaluated the idea of suggesting knit lock bricks and instead looked at materials with high accessibility i.e sold at stores, and are known methods of construction. I moved forward in my design exploring conventional construction but used in alternative ways that favour a staged process.

FOOTING SYSTEM IN STAGE 1

FOOTING SYSTEM IN STAGE 3

Idea Generation 248

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Conventional Footing System - Would require post-drilling

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Ground Sleeve Footing System - Tennis Court Detail

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SPRING-ARCHED (CONVEX) ROOF CUSTOM BLUE ORB OR KLIP-LOC

STEEL WIDE-FLANGE BEAM ONE-WAY SPANNING SYSTEM (PORTAL FRAME)

C-PURLINS WIRE MESH

Fire Pit Future Artist Workshop

SEMI-OPEN MASONRY TERRACOTTA BREEZE BLOCKS

Seating

STEEL SHAFT SYSTEM TRANSFER DEAD LOAD OF BREEZE BLOCKS BETWEEN LINTELS TO COLUMN

LINTEL TERRACOTTA CONCRETE BLOCK

CONCRETE BLOCKS MASONRY WALL TERRACOTTA MASONRY BLOCKS

STEEL COLUMN TRANSFER LOAD FROM ROOF TO FOUNDATION CONSTRUCTED IN STAGE 2

Ou t Gathering Space

Cin

erf low

FENESTRATION / WINDOW FRAMED, OPENABLE WINDOW FITTED WITH PLEXIGLASS PANE

WINDOW SILL

no ff

CONCRETE SILL BLOCKS

STEEL REBAR RODS

l u ra

ema

i ty M mu n

r doo

Co m

RAINWATER SYSTEM

PLACED IN HOLLOW CELL OF CONCRETE BLOCKS

LANDSCAPING PLAY WITH LARGE ROCKS FLOWING NATURAL TOPOGRAPHY DESCENT

CONCRETE BENCH

Water Play GRAVEL FOR DRAINAGE DEPTH INDICATIVE

OVERFLOW RAINWATER SYSTEM LARGE ROCK AGGREGATE TO REDUCE EFFECTS OF FLASH FLOODING

GROUND SLEEVE PREFABRICATED STEEL SYSTEM SET IN FOOTING

Car Parking Ra in w ate r

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PAD FOOTING

CONCRETE IN SITU CONSTRUCT IN STAGE 1

GRAVEL FOR DRAINAGE DEPTH INDICATIVE

Ru nof f 0

1000 mm

2000 mm

3000 mm

4000 mm

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THE ENVIRONMENTALLY SUSTAINABLE DESIGN PROCESS REFLECTION PASSIVE DESIGN Kere Architecture designs mud-brick school building with passive design strategies. Researching Kere’s design process and strategies provided me with a key learning moment in my ESD design process. Gando has a similar hot climate, with flash flooding in the wet season and a similar need for low maintenance due to low-social economic

WINTER EQUINOX 49.13°

status and being regionally located. Kere developed passive cooling that works with the climate, looking at materials that are local and design basic such as moving water away from walls, opening windows and hot air rising and escaping through the roof.

SUMMER SOLSTICE 84.02°

WINTER EQUINOX 49.13°

SUMMER SOLSTICE 84.02°

CURVED ROOF WATER DIRECTED TO WATER PLAY AND RAINWATER RUNOFF SYSTEM

SHADING SUN PATH EAVE DESIGN TO REDUCE SOLAR HEAT GAIN TO WINDOWS

NIGHT VENTILATION OF THERMAL MASS BREEZE BLOCKS USED AS AIR CIRULATION CHANNELS TO PRACTICE EASY NIGHT PURGING

THERMAL MASS CONCRETE BLOCK SELECTED FOR THEIR EASE OF

LANDSCAPING WITH NATIVE TREES AND GRASSES

CONSTRUCTION AND DENSITY TO STORE HEAT

VEGEATION PLANTED IN STAGE 1 PROVIDING SHADE AND COOLING

CROSS VENTILATION COOLING ENERGY-EFFICIENT ALTERNATIVE THAT ALLOWS OUTDOOR BREEZE TO ENTER, RISE AND EXIT THROUGH TOP BREEZE BLOCKS

RAINWATER SYSTEM

EASE OF CONSTRUCTION

INTEGRATED VEGETATED AREAS TO MANAGE STORMWATER

STEEL RODS SET IN CONCRETE BLOCK

RUNOFF DESIGNED AS POROUS-PATHS AND PLANTS

HOLLOW CELL

OVERFLOW RAINWATER SYSTEM INCREASE ON-SITE PERCOLATION OF STORMWATER, DECREASES OFF-SITE RUNOFF

STAGED DESIGN A BUILDING THAT GROWS WITH NEED REDUCING EXCESS MATERIAL USAGE AND OVER BUILDING

STANDARD GRID SYSTEM 3X3M GRID FOR MODULAR SPECIFICATION AND EASE OF PRODUCT SELECTION

1000 mm

2000 mm

3000 mm

4000 mm

Kalkaringi’s Seasons

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ENVIRONMENTAL SUSTAINABLE DESIGN STRATEGIES REFLECTION ON THE DESIGN PROCESS My design responds to the climate using passive design strategies. Kalk is hot so I wanted to design a building that provides shade from the sun in the dry season, shelter from the rain in the wet season and internal spaces that allow the cool breeze in, through the windows and for the hot air to rise and escape through the top breeze blocks.

Kere Architecture 256

Kere Architecture

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Kere Architecture

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Passive Air System | Kere Architecture

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WINTER EQUINOX 49.13째

SUMMER SOLSTICE 84.02째

WINTER EQUINOX 49.13째

SUMMER SOLSTICE 84.02째

CURVED ROOF WATER DIRECTED TO WATER PLAY AND RAINWATER RUNOFF SYSTEM

SHADING SUN PATH EAVE DESIGN TO REDUCE SOLAR HEAT GAIN TO WINDOWS

NIGHT VENTILATION OF THERMAL MASS BREEZE BLOCKS USED AS AIR CIRULATION CHANNELS TO PRACTICE EASY NIGHT PURGING

THERMAL MASS CONCRETE BLOCK SELECTED FOR THEIR EASE OF

LANDSCAPING WITH NATIVE TREES AND GRASSES

CONSTRUCTION AND DENSITY TO STORE HEAT

VEGEATION PLANTED IN STAGE 1 PROVIDING SHADE AND COOLING

CROSS VENTILATION COOLING ENERGY-EFFICIENT ALTERNATIVE THAT ALLOWS OUTDOOR BREEZE TO ENTER, RISE AND EXIT THROUGH TOP BREEZE BLOCKS

RAINWATER SYSTEM

EASE OF CONSTRUCTION

INTEGRATED VEGETATED AREAS TO MANAGE STORMWATER

STEEL RODS SET IN CONCRETE BLOCK

RUNOFF DESIGNED AS POROUS-PATHS AND PLANTS

HOLLOW CELL

OVERFLOW RAINWATER SYSTEM INCREASE ON-SITE PERCOLATION OF STORMWATER, DECREASES OFF-SITE RUNOFF

STAGED DESIGN A BUILDING THAT GROWS WITH NEED REDUCING EXCESS MATERIAL USAGE AND OVER BUILDING

STANDARD GRID SYSTEM 3X3M GRID FOR MODULAR SPECIFICATION AND EASE OF PRODUCT SELECTION

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1000 mm

2000 mm

3000 mm

4000 mm

263

ARTIST MURAL WALL

Built in Stage 1

A PLACE TO SIT & PLAY In stage 1 the design looks at the small interactions through a central pavilion, an artist mural and water play area.

planned to pause, it encourages and allows for users to express art and culture and engage with the building through play, movement and yanning. As well as for the designer to observe, reflect and change depending on the desires.

The design response explores how over time the mural wall is sewn together into the main enclosed gallery wall. When the design is

Fire Pit Future Artist Workshop

Seating

ma Cine oor Outd ural ity M mun Com

Ove

Gathering Space

rflow

Run off

Water Play

Car Parking Rai Artist Garden

nw ater

Run of

10 M

Stage 1 Cultural Center | Artist Mural 264

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TERRACE SEATING

Built in Stage 2

A PLACE TO PLAY, GATHER & DANCE In stage 2 the additionals for a second pavilion, a kitchen area and fire pit. The second pavilion roof is designed to theatrically celebrate the rain, to bring the community together at a gathering space, as they sit under the shelter the rain runs through channels in the terrace seating, like rivers and streams around them, not getting them soaked but to

be really interesting to watch. The water runs into a natural aggregate runoff system that feeds into a water play area for kids to splash, jump and enjoy. An overflow is designed as a channel underneath in heavier rains. The design aims to provide a space for interactive learning about water flows, while experiencing the cool rain in the hot climate.

Outdo

or Ki

tchen

Fire Pit

Shaded Pavilion Future Artist Workshop

Seating

ma Cine oor Outd ural ity M mun Com

Future Visitor Center

Ove

Gathering Space

rflow

Run off

Water Play

Car Parking Rai Artist Garden

nw ater

Run of

10 M

Stage 2 Cultural Center | Terrace Seating in the rain 266

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THE CULTURAL CENTRE

Built in Stage 3

A PLACE FOR ART DISPLAY & ENTERPRISE By stage 3 it is a cultural centre, with enclosed walls and roofs. The architectural form reflects three pavilions sitting at the highest point of the site overlooking the hills. To provide an interesting entry to town as it is the first thing you see when you drive over the bridge. The design of the curved

roof and reflects the organic shape of the adjacent hills. With shaded circulation paths, a centre axis path and a variety of spaces for different affordances, with small spaces for talking, large spaces for gathering, and cosy workshop spaces with high ceilings.

en Storag

Kitch

Fire Pit Artifact Room

Artist Workshop Storag

Gallery Storage

ma Cine oor Outd

Visitor Center Offices

Seating

Ove

Gathering Space

rflow

Run off

Water Play

Car Parking Rai Artist Garden

nw ater

Run of

10 M

Stage 2 Cultural Center | Terrace Seating in the rain 268

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0. FINAL DESIGN Evaluation on the design, the design process, on observational data techniques, idea generation, communication of design and designs future challenges and how it can evolve.

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REFERENCE LIST ABC News. (2016). The untold story behind the 1966 Wave Hill Walk-Off, viewed 18 August 2018 ABC, 80 Days that changed our lives, Gurindji Strike – the Wave Hill Walk-Off, viewed 4 August 2018 ABC. (2020). Gurindji strike - The Wave Hill walk-off - 80 Days That Changed Our Lives - ABC Archives. Retrieved 6 April 2020, from http://www.abc.net.au/archives/80days/ stories/2012/01/19/3411481.htm Andrews, M. (2019). Journey into Dreamtime. Ultimate World Publishing. Angelopoulou, S. (2019). kaunitz yeung architecture builds two aboriginal health clinics in the australian desert. Retrieved 6 April 2020, from https://www.designboom. com/architecture/kaunitz-yeung-architecture-punmuparnngurr-aboriginal-health-clinics-australia-04-03-2019/ Australian Human Rights Commission. (2017). Casual racism | Racism. It Stops With Me. Retrieved 6 April 2020, from https://itstopswithme.humanrights.gov.au/what-can-youdo/speak/casual-racism Australians Together. (2020). Australians Together | Wave Hill Walk-off. Retrieved 6 April 2020, from https:// australianstogether.org.au/discover/australian-history/ wave/ 278

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BOWER STUDIO. alexia baikie 699258

LITTLE THINGS.

A project designed for Kalkaringiâ&#x20AC;&#x2122;s Cultural Centre, exploring the concept of a series of incredmentally built pavilions, sewn together over time affording the patience for gradual expression, reflection and engagement.