Sarah Fearn-Wannan - Research Booklet - Bower Studio 2020 by BowerStudio20

BOWER STUDIO 2020 Sarah Fearn-Wannan

BOWER STUDIO 2020 Sarah Fearn-Wannan 762096 Studio E

COVER IMAGES: Kalkaringi, Bower Website, 2019. Kalkaringi, A. Roper, 2019. BACKGROUND THROUGHOUT: Karungkarni Art, Photo by A. Roper, 2020.

I acknowledge the Wurundjeri people who are the Traditional Custodians of the land on which I live, learn and have prepared this book. I pay my respects to the Elders of the Kulin Nation; past, present and emerging.

I acknowledge the Gurindji people who are the Traditional Custodians of the land, on which the research of this studio has been focused. I pay my respects to the Elders; past, present and emerging.

TABLE OF CONTENTS

INTRODUCTION 01 CONTEXT 02

07 INVESTIGATION 103

KALKARINGI 03

08 CONSULTATION 143

15 41

Kalkaringi, Bower Website, 2019.

06 BRIEF 87

MAKING 04

CONSTRUCTION 05

09 PROPOSITION 196 10 ONWARD 232

01 INTRODUCTION Kalkaringi, N. Cain, 2019.

Kalkaringi, N. Cain, 2019.

INITIAL MOTIVATIONS BOWER 20

In writing my application for Bower 20 and explaining my excitement for the project, I came to understand that my motivation for engaging with this course interweaves with broader goals I have for myself. Here they are:

Now entering my second year studying the Master of Architecture degree with my third studio, I feel ready and excited to participate in Bower 20; the name for this year’s Studio Bower project in the NT. Having previously engaged with studios based in speculative worlds, I am looking forward to getting my hands dirty on meaningful, down-toearth projects.

• Improve the lives of people. Bower 20 works to enhance the lived community experiences for the people of Kalkaringi, which is something I want to be involved in. Knowledge is a responsibility that must be used wisely and generously. • Get hands-on. I believe there’s only so far one can go by learning on a screen, so this experience really is vital a holistic education.

• Learn from others. Throughout my previous studios I have found it beneficial to discuss ideas with other students and thinkers. This project fosters genuine community engagement with the people of Kalkaringi. I see this as a chance to influence my future work and develop my understanding of the broader Australian context. • Get out there and see Australia. I hold a strong affinity with this country but have not seen “the outback” further than Broken Hill! I am compelled by the thought that my experience of the Northern Territory could be informed by communities which are so entirely different from home.

• Push outside of my comfort zone. It’s always there that the best experiences happen. And I already am... So how soon should I purchase flights? • Enjoy the process. I’m an organised person who likes to know the plan. But sometimes there just isn’t one and this semester, I’m setting myself the challenge of relaxing into this. Construction doesn’t often happen seamlessly and I’m willing to bet I’ll learn this the hard way. But I’ll go with the flow - I hope.

Kalkaringi, Bower Website, 2019.

ABOUT ME I have always lived in the Eastern suburbs of Melbourne; in Woiworung country. In primary school we had good exposure to Aboriginal culture but in high school, classes definitely favoured the European side of history. At 15, I lived for a school term in the back-blocks of Western Victoria. This school had a strong emphasis on Indigenous education and this was when I learnt, for the first time, of many place-specific events pertaining to Australiaâ&#x20AC;&#x2122;s history. Indigenous issues are topics I feel a responsibility, as a citizen of this country, to better engage with and understand.

SFW, S. Bradford, 2018.

Blackburn Lake Sanctuary, Robbinvk, 2016.

02 CONTEXT Gurindji Strikers, Brian Manning Collection, 1967.

Freedom Day Festival March, N. Zicchino, 2019.

THE DREAMING W.E.H. Stanner, 1953. Although his ideas are now commonplace, I was struck by the progressiveness for their time. I researched the author’s credentials and determined Stanner as a reliable, fair source due to his avid interest in actually engaging with and learning from Aboriginal people, rather than just observing from a distance, as his contemporaries may have. A comment exemplifying his radical approach; “learning to ‘think black’, not imposing Western categories of understanding” (p.58) is a key learning from Stanner’s research. I have already identified the difficulty for me to understand the reasons “why” surrounding Indigenous cultures. It is Stanner’s advice to take a step back

and shed, to the best of my ability, my Western lens.

BUILDING VISIBILITY: ULURU KATA-TJUTA CULTURAL CENTRE

A significant element of this culture is The Dreaming, which I have learnt are not only “creation” stories, but everrelevant lessons for Aboriginal people in making sense of their world. There is common ground after all, as this pursuit seems to be intrinsic to the experience of humans everywhere. Stanner identifies another cultural aspect in the sameness and regularity of the Aboriginal way of life, across generations. This provides context for the communication of The Dreaming, as it places individuals within a holistic cycle that appears to “defeat history” (p.70). Also explored is the prevalence of generosity and egalitarianism in Indigenous communities, which sets the scene for exactly why whiteimposed capitalist processes are met with confusion - even today.

Lisa Findley, 2005. In this chapter, Findley investigates the Uluru Kata-Tjuta Cultural Centre as a case study for the discrepancy between the values of Indigenous and non-indigenous groups. She points to the concept of “materialism” as a major area of misunderstanding and argues that it is a matter of “emphasis on process and relationship over product and object” for Aboriginal people. The Cultural Centre reflects a desire for the local Indigenous community to share and reveal their culture; hence a place of visibility. It is consistent with their intrinsic values of generosity (as witnessed by Stanner) that these locals aspired to share their knowledge of Uluru and the landscape with outsiders, in the hopes that such tourist decision-making would then be founded on the same set of values (respect and generosity). Whilst considered somewhat successful in the narrow aim of reducing the number of Uluru climbers, the over-arching problems are too much to be resolved in one architectural project. This building simultaneously contributes to the solution and is itself part of the problem. It is instrumental in raising the visibility of the culture, but much like Findley’s analysis of Aboriginal art, it takes the cultural data and transplants it into a white format; the flat ornamental painting. This building is representative of the value that the West holds on permanent physical structures, which is at odds with the non-materialist Indigenous societies which both Findley and Stanner identified. Consequently, this raises questions as to who the Cultural Centre is really for; the local Indigenous people whose culture it celebrates, or the outsiders who visit and learn from this exhibition? The Dreaming Book Cover, 2009.

As initial studio readings, these two articles have introduced me to a wide range of themes to be further investigated.

A major theme of this film is the struggle with identity that seems common amongst Indigenous people growing up in a white society. Identity, in my own experience, is something I would view as fairly steadfast, so it was shocking to watch Goodesâ&#x20AC;&#x2122; sense of belonging within his football team be taken away by outsiders. Itâ&#x20AC;&#x2122;s rough when somebody tells you that you donâ&#x20AC;&#x2122;t belong, but even worse when it is a recurring theme throughout your life - which it is for many Indigenous Australians. Further, the most damaging part of such experiences is likely to be a refusal of the perpetrator to acknowledge that they have caused hurt at all. A key learning from this is that the line of racism is blurred, but the offending person must be willing to listen and accept the experience of the injured party. Denial is the kind of response that strengthens and embeds systemic racism further within our society.

THE AUSTRALIAN DREAM Stan Grant, 2019. I found this documentary extremely beneficial in my understanding of the current discussions surrounding racism within the mainstream culture. It was difficult to watch at times, yet eye-opening as these issues are not things which typically come to my attention. This demonstrates that racism is not something I encounter often, nor is it something that generally affects me - but it should be, and this documentary has moved me and forced me to reassess.

Nicky Winmar, W. Ludbey, 1993.

An interesting conversation we had in class focused on the victory dance that Goodes and other football players did on the field. It is curious, albeit predictable, that the response of the general public is to interpret something not understood as threatening. This attitude places the ownus on the dancer to refrain from action, rather than a call to educate oneself.

WORKING WITH ABORIGINAL PEOPLE National Disability Services, Western Australia. The NDSWA released this guide for non-Aboriginal workers, with the purpose of assisting them in working effectively and sensitively with Aboriginal communities. Upfront acknowledgment is made of the differences between such communities. It is mentioned that they are made unique by their “different customs and protocols, systems of organisation, languages and relationships to each other” (p.6). Various political decisions made in relation to Aboriginal issues are listed. This demonstrates a timeline of the systemic racism and disadvantage, the effects of which are still prevalent

today. However, knowing that the Wave Hill Walk-Off occurred in the 1960’s, it is amazing to see the evolution of these Acts throughout the 1970-80’s period as well as the major 1967 referendum. As a time of significant social change, I can’t help but imagine the important role that the Walk-Off played in establishing Indigenous rights.

dressing and acting in approachable and reputable ways, plus the role of eye-contact. Cues for these should be taken from the relevant communities themselves (p.15).

In terms of interior design, this document briefly lists some pointers. One instruction I find particularly interesting, in creating a comfortable environment, is “allowing people to be It is evident how strong the Aboriginal seated facing the door” in the office context (p.15). Further, I am intrigued culture is, as an oral language which to learn that Aboriginal people are lived on through “small pockets of resistance” (p.12) even when language patriotic about their flag colours; as they provide a sense of belonging, was banned and children were removed from families. Such resilience kinship and pride (p. 16). Previously I may have considered such colour use speaks for the passion of the people. as tokenistic and naff, but I can now understand its value. These are really There are some sections of this valuable take-aways to consider in my manual which are relevant to our final design. Kalkaringi visit, including advice on

THE GREAT AUSTRALIAN SILENCE W.E.H. Stanner, 1968, The Boyer Lectures. Calling out many “perceptive thinkers” of his time, Stanner observes the complete avoidance of discussing (and mentioning altogether) Aboriginal peoples and related policies. He gives explanation to this by suggesting that, as Indigenous matters were originally on the periphery, this may have “begun as a simple forgetting of other possible views” but over time “turned into a habit... like a cult of forgetfulness practiced on a national scale” (p.189). I tend to think this is absolutely true and this silence continues to permeate 50 years later. His observation strengthens the notion that to resolve a problem it must be spoken about, not shied away from.

W.E.H. Stanner, Black Inc. Books, circa 1940.

For me, this essay highlights the importance of designing buildings which truly reflect what the community requires and desires, not what the designer thinks the community wants (as was seen in some of the examples from the documentaries). Inattention and absent-mindedness are no longer excuses for side-stepping the central issues.

TALKING TO MY COUNTRY

He said; “Time was not important - what happened yesterday was as real as today and would be again tomorrow. What happened to my forebears happened to me” (p.177). So the answer lies in the essence of The Dreaming; it’s not necessarily specific events which cause the sharing of pain, but the cultural tradition and understanding of passing on the knowledge. And muddled in amongst this issue is again the theme of powerlessness; the tipping of the scales even now when we are supposedly striving for equality.

Stan Grant, 2016. This book has provided me with the answers and explanations to many questions I didn’t even know I had. Grant writes in an autobiographical style, bringing up personal experiences and setting them within the wider context. One area in which I feel Grant has enlightened me significantly is in understanding the actual lived experiences of modern Indigenous Australians. In particular, he speaks of the over-riding sense of powerlessness that tends to dictate many of their lives. As a boy he witnessed fellow Aboriginals “unleash fury” on each other, stemming from the powerlessness of being lumped in all together irregardless of integral family clans (p.39). As a student, rather than fostering his education his headmaster “reminded him that if he did have a place in Australia, it would be on the margins” (p.45). Once moving to the big city, he promptly learned that to be accepted by his peers it was easier to become “almost in denial about being Aboriginal” (p.52). And more recently he raises the recurrent problem that even today, these communities have “limited input into how they run their lives” (p.185), and they have limited options and opportunity. These are the lived experienced of many and from the place that I sit, it is horrifying. I cannot commend Grant enough for being strong enough to share these personal experiences with people like me, so that I too can learn about them and grasp what my role of support may be. A theme which I have spent some time considering is the function of generational guilt. Personally I find it difficult to identify what my role is, when sitting in the “whitefella camp” but with minimal connection to my ancestors who potentially were the perpetrators of such brutality. I have questioned how it can be that the hurt is so strongly passed down the Aboriginal line, yet I know little more than names of my forebears. Grant has eloquently offered a justification which functioned as a bit of a light-bulb moment for me.

Stan Grant, N. Cubbin, 2019.

Grant quotes an old Indigenous man; “We know your language, we go to your schools, we know your law, when will you learn ours?” (p.208). This statement helps me understand what my role could be, and it happens to be what I’m doing now - learning as much as I can about these people and their culture.

KARTIYA ARE LIKE TOYOTAS Kim Mahood, 2012. This article is an informative read, providing a glimpse into the treacherous conditions ill-prepared workers engage with in remote communities. Whilst illustrating the point precisely, it is sad that the author can recite the inevitable experience of new Kartiya in such detail. Mahood’s semi-fictional “exposé” reveals a thick web of interrelated challenges and unavoidable failures which seem to arise out of severe cultural differences and a lack of adequate training. In the eyes of the Aboriginal community, this looks like a continuous thread of disappointing (white) individuals, which further widens the perceived racial gap. It is essential to the success of the relationships that the local community has trust in the Kartiya, but it becomes near impossible when each new-comer is expected to develop that in the ever-growing shadow of the previous people. I find it devastating to learn that it is frequently the Kartiya who block each other’s best intentions and well-meaning efforts. It takes just one egocentric person motivated by their own hunger for power, to build up monopoly over an entire town reliant on them. According to Mahood, the job descriptions sadly attract these type of people more often than not. Having recently watched numerous historic-based Australian films, I’m forced to draw the correlation between these scheming, managerial Kartiya and the delusional, violent stockmen of 100 years ago.

Kalkaringi, N. Cain, 2019.

Lucky for Kalkaringi, it sounds like the prominent Kartiya there fall into the category of “emotionally mature people” who are genuinely doing positive work for the community. It will be interesting to learn the thoughts and expectations that the local Indigenous people have for not only the permanent fixtures, but also us as outsiders who bustle in, make our mark and breeze back out. I can see the benefit of having returning staff and mentors who help to establish continuity and reliability, so that the Bower students don’t look like a Toyota that drives in and straight back out ten days later.

reported on across the medias, more comprehensively than ever before. She partially attributes this to the emergence of the Aboriginal middle class, which has come about within the space of no more than three generations. This is a phenomenon that has previously been ignored as it does not align with the established narrative as understood by White Australia (a point echoed in Grant’s 2018 article). Langton claims that films and TV have “broadcast more truth and sociological sophistication into Australian homes than thousands of papers from the intellectual militias of the ‘Indigenous Affairs’ machine”. When speaking of the Indigenous Affairs department, it is interesting to juxtapose contrasting views of it. The stereotypical person who is unengaged with such issues is quick to inaccurately call out the “dole-bludgers” who “benefit” from this government support. However Langton can speak for the other side, claiming that these same agencies which are critisised for existing at all, are also incredibly difficult for the “beneficiaries” to make sense of. It is fairly clear, that as the political body is universally resented, perhaps it itself requires re-examination. After all, as stated by politician Ben Wyatt, the government approves the deliverance of a lower standard of education to Aboriginal schools, than those demanded elsewhere. This prejudice cannot be attributed to any group other than the overarching governing bodies. Theoretically, such a democratic government system reflects the majority views of the population, but from my research thus far it is hard to accept that this is the case here. As a general statement, Australia wants equality yet the political systems in place are reactive rather than proactive.

COUNTING OUR VICTORIES The end of Garvey-ism and the soft bigotry of low expectation. Marcia Langton, 2012, The Boyer Lectures, Lecture 5. The function of this lecture is to shine a light on the many successes of and for Indigenous peoples, rather than dwelling on the widely acknowledged problems. Langton observes that the accomplishments of Aboriginal people are being

Marcia Langton, J. Gemes, 1982.

Langton suggests that the key elements in ensuring Aboriginal culture survives in the modern world comes down to; education, economic participation, and self-esteem. According to my research, Indigenous successes in these areas are often not a result of societal (and government) expectations, but in spite of them.

THE INDIGENOUS TRUTH WE DON’T HEAR

A RIGHTFUL PLACE: A ROAD MAP TO RECOGNITION Shireen Morris (Ed), 2017. Chapters discussed by Noel Pearson & Warren Mundine.

Stan Grant, 2018. Grant claims that successes in “closing the gap” for Aboriginal Australians are being ignored in order to perpetuate the historic Indigenous identity of misery and oppression. Citing himself, politicians and the increasing number of Indigenous university graduates, Grant proves that “the gap” continues to be closed by driven individuals. What really works is empowering Indigenous people through enabling self-determination. I see the aim of Bower Studio to inspire possibilities, with the community holding ultimate responsibility for project completion.

Close the Gap, OxfamAUS, 2015.

When discussing the 2017 Uluru Statement from the Heart, Pearson reflects on similar previous documents. He notes the 2008 petition, which amongst other important requests, demands the right to “control of our lives and responsibility for our children’s future”. This is a significant, on-going theme throughout much of my research and as I have discovered, it is much more profound than a lack of opportunity or support. This missing control, referred to by other Aboriginal people as powerlessness or limited self-determination, manifests in a myriad of impactful ways. As

told by Grant (2016), it may begin in the discouragement of Indigenous students from completing school. But it spans lifetimes, with Pearson quoting Yunupingu; “I look back now on a lifetime of effort and I see that we have not moved very far at all” (p.14). That is the experience of an influential Aboriginal leader who one would assume to have a good level of self-determination. Yet this is his interpretation of his life’s work, and is the shared experience of many. It is my hope that the Family Centre I design will be a supportive facility which works to counter-act these unacceptable fates. Mundine takes a stance where his focus lies in the recognition of identity arising from which mob belonging. This is because “the only people

who speak for country are traditional owners” (p.208) so each mob requires its own local governance. This links in as much with how Indigenous Australians view themselves, rather than just how they have been perceived by outsiders. For me, this reinforces the issues broached by Mayor (2019), with regards to the differences of each community, or mob. The government has a tendency to lump all Aboriginal peoples in together, but they must be considered somewhat separately to achieve meaningful recognition. In terms of my design project, I must keep in mind that general research should be considered cautiously, and instead listen carefully to the people of Kalkaringi. This is who my design is for after all, and they are unique.

casework two-barrel parent-tender sniffle gun, yellow rim

BLAKWORK

white mum commercial break relatable, irritable sniffer wipe. bab kick out and reach. tissue bumble golden lab whisper aloe vera. vera

Alison Whittaker, 2018. Through this collection of poems, Whittaker expresses intricacies within the Aboriginal experience, sometimes politically and always passionately. I have chosen to include her “casework” poem as it focuses on themes relevant to my Family Centre project. This poem alludes to the common experience and mutual understanding shared by all mothers, yet highlights the unparalleled bigotry of low expectations (as per Langton’s Boyer lecture) which Aboriginal mums are subject to. In the story told here, the welfare officer is nitpicking and seemingly hoping to find something inadequate, in order to validate their visit. From this, I can understand why and how Indigenous people learn to mistrust and be wary of such government agencies and law enforcers. This is an important hurdle to overcome in my project design, as well as demonstrating the significance of the proposed Kalkaringi Family Centre which has a core aim of becoming a welcoming facility.

black mum commercial break relatable, punishable sniffer wipe. bab kick out and reach.

‘allo. ma’am, and your garden’s overgrown. two barrel parent-tender welfare order. a law-bound guest at door a wincing grin.

with aloe vera. aloe vera, soothe this wrench-ed, watch-ed home.

toys stack into drawers kettle boils quick kick sweep the floors enter clipboard checklist workers

Mum and Bub, E. Nicol, 2016.

Poem by Alison Whittaker and a coincident great huffing sneeze In Blakwork, 2018 from that two-barrel infant yellow gun. Pages 54-55

FINDING THE HEART OF THE NATION Thomas Mayor, 2019. Looking at the 2017 Uluru Statement which calls for constitutional change and structural reform, the author interviews Indigenous people from across the country; two of which are Gurindji people.

Kalkaringi, M. Yanez Sainz, 2019.

Robert Roy is deeply linked with the Wave Hill Walk-Off as his parents were part of it. When he speaks of the harsh living conditions they endured, it is heartening that he expresses pride over anger. That pride must come from the sense that his people created something much bigger than

themselves. In retrospect, they took a stand for the entire Indigenous nation. He mentions that along with land rights, the strike was fighting for self-determination. Yet 50 years later, progress on this is negligible. RR points out that although the same problems may be present, the communities are all different so the resolutions must be tailored. There is no â&#x20AC;&#x2DC;one size fits allâ&#x20AC;&#x2122; policy. Rosie Smiler, granddaughter of Vincent Lingiari (leader of the WalkOff), passionately explains how the blanket Community Development Program has been ineffectual, even resulting in the loss of meaningful community jobs. She attributes this failure to policy-makers not listening. Rosie really wants to talk to these people about her community, but there is little opportunity to do so. This demonstrates the vicious cycle that allows systemic Indigenous powerlessness to continue.

Karungkarni Art, Photo by A. Roper, 2020.

SAND TALK: HOW INDIGENOUS THINKING CAN SAVE THE WORLD Tyson Yunkaporta, 2019. Chapter 1, Porcupine. I found this chapter beneficial in that it has the effect of neatly summing up the essence of my other research pertaining to Aboriginal ways of being. When asked what the term ‘Indigenous thinking’ means, I am able to reference this text in explaining that it is the process of looking back, recognising patterns from the past and learning from them. This is why the exercise of investigating precedents is of particular importance in this context. Yunkaporta describes that knowledge keeps on evolving as with each person that it reaches, new shades of meaning are added (p.20). He also points out that passing knowledge on is critical in growing into the next stage, so holding onto it stifles ones development (p. 20). This statement links with the explanations provided by Stanner (1953) and Grant (2016), helping to round out my understanding of the significance and nature of such oral traditions. This indicates to me that opportunities for conversation are of vital importance when designing spaces for Aboriginal people, and perhaps more specifically the provision of informal places of gathering for people of all ages. In our class discussion it was mentioned that Yunkaporta is highlighting the ontological difference in the approaches to thinking as experienced by Indigenous Australians and Western society (generally speaking). He suggests that the difference lies in the focus on the collective (Indigenous) against the individual (Western), which implies that the Western approach is inherently unable (or less likely) to consider larger networks of complexity. Whilst I can appreciate where this line of thought comes from historically, I find it to be an unfair generalisation of the capacities of many non-Indigenous people in society today. It may be true that a hundred, or even fifty years ago, people within Western societies happily played their roles without care for the larger systems they were a cog in.

This is perhaps a symptom of the capitalist regimes which have dominated Western society since industrialisation. However I think today this notion of collectivism or individualism is more a reflection of one’s life experiences and personal values rather than their race. As a topical example, there are plenty of middle-aged white people panicbuying toilet paper, but there are also many of the same demographic who are home-growing vegetables to share with their neighbours. Which route one takes is informed by their value-laden thought processes as created by past experiences.

Perhaps as we inter-mingle with people from other backgrounds, our own views are given a chance to develop, providing an updated lens through which we see the world. In summary, whilst ‘Indigenous thinking’ is a trait intrinsic to Indigenous people and their ways of being, I feel it is an ideal or belief structure which spreads and morphs over time, just by existing within the same societal system.

Sand Talk, 2019.

TV, FILM & DOCUMENTARIES

Utopia Generations Viviana Petyarre, 2019. Sweet Country, 2018.

Sweet Country Warwick Thornton, 2018. Exploring racial dynamics and themes of authority and justice, this film exposes the severe inequalities that Indigenous people, women and children experienced against the all-powerful white man. Context is also created around the mental state of the WW1 veteran white settlers; something less spoken of and a valid point to highlight, as those with the power were often highly unhinged. It is a travesty that the relationships between these races were founded by such irrational people.

Utopia Generations, 2019.

Robbie Hood, 2019.

Ten Canoes, 2006.

This documentary highlights the tradition of passing down knowledge and the rite of passage of learning it. The grandfather makes the point that if his grandson is to learn “whitefella ways” (through attending school) then he sees it as his duty to ensure he teaches him the black ways too. He explains that this oral tradition has always been the same and will always be the same. However, this begs the question of its validity in the current world; the circumstances in which the grandson lives are extremely different from that of the grandfather. Does the grandchild understand the reverence of what he has been taught? And will subsequent generations receive the same cultural teachings?

Ten Canoes Rolf de Heer & Peter Djigirr, 2006. Robbie Hood Dylan River, 2019. This TV series is set in the present day, revealing realistic day-to-day events, where the children of this town are let to run wild and fend for themselves. This series has exposed me to everyday issues which largely revolve around money; from running out of electricity and the inability to afford food, to paying for pool access on a hot day. The story touches on the foster experience and complicated family circumstances as well as the role of kartiya in “managing” the town.

The role of storytelling and its intrinsic relationship with journey is apparent through this film. Providing an insight into cultural activities and lore, I found it most interesting to learn of the process of life and death as Aboriginal people understand it. Upon reflection, it is as though there is a whole circle to understanding “life” and the Western perspective only focuses on a small portion of it. The idea of how the spirits (of past and future) are linked with the living people gives further reason as to how The Dreaming is perceived and why it is of such great importance and continued relevance.

Toomelah Ivan Sen, 2011.

TV, FILM & DOCUMENTARIES Toomelah, 2011.

Charlie’s Country Rolf de Heer & David Gulpilil, 2013. Capturing the Indigenous struggle of living in a system of white intervention, Charlie turns into exactly what he had despised. By drinking, bringing shame to elders and spending time in jail, the once tenacious man of principle realises the inevitability of his people. Through this journey he comes to feel responsible in passing down cultural knowledge. This film demonstrates how much life has changed for Charlie’s generation and the impossibility of returning to the “old ways” as they may dream of.

The Tracker, 2002.

Charlie’s Country, 2013.

Set at a mission camp, this film follows the daily life of ten year old Daniel who wants to be a gangster. Highlighting the substance abuse and disconnect from traditional culture that his parent’s generation has, perhaps an impact of the Stolen Generation, Daniel is drawn to a local gang. They seem to give him a sense of familial belonging, purpose and cultural teachings, that his own family doesn’t. Whilst the closing of the film is hopeful, showing Daniel in his Nan’s arm and returning to school, the viewer is left with the question as to his life projection. After admiring and being fostered by the gang when no one else would, surely he would see this as a good future prospect; when his community is either a substance consumer or provider - there is no other option.

The Tracker Rolf de Heer, 2002. This film explores the role of power and challenges of reversed dependency. The portrayal of the lead Aboriginal character in this film as a smart man, always one step ahead of the game, is in contrast to many others in the “Australian Western” genre. Another unique element explored is the perception that some Aboriginals were somewhat absorbed into white ways, to the extent that they would regurgitate racist beliefs about their own countrymen although in this case the viewer is not quite sure whether the tracker character is intelligently playing into his stereotype, to build his boss’ trust and eventually blindside him.

03 KALKARINGI Kalkaringi, M. Yanez Sainz, 2019.

Karungkarni Art, Photo by A. Roper, 2020.

KALKARINGI Kalkaringi is a place of significance in the history of Australia. Although I did not recognise the name of the town, I could picture the iconic photograph of Whitlam pouring the red dirt into Langiari’s hand; returning the land. In our first class we were briefly acquainted with the events that occurred here, which I was fascinated to learn about, as a key historical turning point for Aboriginal rights. It is also interesting to learn about the tension that exists nowadays between government-supported Kalkaringi and neighbouring Daguragu, which is not and therefore does not receive the same attention or benefits.

Kalkaringi, L. Seah, 2019.

Location_ 554km south of Darwin, Northern Territory Town Size_ 6km2 Population_ 334 people Languages_ Gurindji 54.5%, English 13.3%, Gudanji 11.5%, Warlpiri 0.9% Ancestry_ Australian Aboriginal 72.9% Median Age_ 25 years old Education_ Year 9 or below 16.7% (after “not stated”) Employment_ Local Gov Admin 13.8%, Grocery Stores 12.5%

the way for Aboriginal communities country-wide. Sadly, the “Afterword” chapter highlights the nature of heirarchical government structures which have systematically reclaimed legal control over the area. Despite the 50 years of progress made, the local communities are now only tokenistically respresented at the NTG’s Victoria Daly Regional Council. It is heartening however, that the Gurindji communities are doing what they can to exercise selfdetermination over decisions to be made locally. This also provides me with a deeper understanding of the importance (and the symbolic respect) of obtaining opinions from Traditional Owners.

A HANDFUL OF SAND Charlie Ward, 2016.

falling victim to the system.

Through recounting the step-by-step Gurindji history of the second half of the 20th century, I have gained a more detailed understanding of the events which took place within wider societal and political contexts. What immediately jumps out is the deeply politicised nature of Aboriginal Affairs. These issues have really not been viewed as a matter of human rights, but often with an underlying political motivation similar to the “sports rorts” of today. It is shattering that the basic desires of these people were denied for decades, whilst bureaucratic papers were shuffled and governments switched over. In particular, the shift from the Whitlam to Fraser office essentially reversed the Gurindji’s progress by ten years (p.199),

However, the same political system which has the power to respond to Indigenous requests, is also the one which creates its own road blocks. For example, the government had to hold legal tenure over land to be in a position to improve infrastructure there, so they were in a self-made stale-mate when it came to the Wattie Creek squatters (p.125). Furthermore, when government agencies became overly involved in projects proposed by Indigenous elders, their implied project ownership reduced the appeal of them for the community (p.254).

Another instance of the whiteimposed system jarring against the Aboriginal lore, is the modern reality that all Gurindji hold equal rights,

with no legal priviledges for the most advanced law-man (p.315). This would have been a hugely difficult change for elders to accept, with traditional customs being flatly ignored. Ward also speaks to the inevitable cultural tension and instabilities arising from the creation of communities which awkwardly merged Aboriginal groups and European residents (p.262). There is a recurring theme of personal and political conflicts distracting from practical problems (p.93), and according to other resources I have investigated, this is a continuing issue today. Overall, it is hard to close this book with anything but the impression that the Gurindji are an immensely determined community who paved

Pouring Soil, M. Bishop, 1975.

It is exciting to be involved in a project which, by its very existance, acknowleges and genuinely incorporates the desires of these people who have fought for so long to have independence and a voice.

1961: A wireless radio meant the Gurindji would hear about current affairs and social issues.

TIMELINE OF EVENTS Information gathered from; Charlie Ward, 2016, A Handful of Sand.

1879 1879: The first recorded white man to traverse Gurindji land. 1884: White men returned droving thousands of cattle from Queensland. 1924: The last massacre occurred on Gurindji country.

1966: Lead by the head Aboriginal stockmen of Wave Hill, around 200 people walked fifteen miles to land not owned by Vesty.

1945 1945: Inspired by the Aboriginal contribution in the war, Indigenous wage was risen to 25% of the Award rate. 1950: Radical vision of living independently on their own land, put forward at Gurindji men’s meeting.

1971: It was announced that the Native Title was not recognised under Australian Law; if it had existed it was made void by European occupation. 1972: PM McMahon’s Australia Day speech spurred on activists who set up the Aboriginal “Tent Embassy”.

1961

1971

1967: A petition requesting reownership of the Gurindji land read in parliament. A referendum occurred on whether the federal government should legislate on Aboriginal issues.

1972: Lingiari wrote a letter to Whitlam, guaranteeing their votes if he could give them his support. Whitlam’s ALP won the election.

1968: First debate on Aboriginal issues held in federal parliament.

1974: DAA purchase of Vesty land awarded the Gurindji the river and the land west of it.

1975: Whitlam symbolically returned the land to the Gurindji people.

1983: The hugely successful first Freedom Day march held.

1976: Libanungu (Kalkaringi) township declared an open “public” town.

1985: Compulsory de-stocking of Daguragu Pastoral Lease, resulting from inability to test health of cattle.

1981: Gurindji, Mudburra, Malngin and Nyininy land claim hearing.

1975

1983 1986: Aboriginal freehold land right deeds presented to community.

Vincent Langiari, National Library of Australia, circa 1975.

2008: Daguragu Council taken over by NTG’s Regional Council, where the 600 residents at Kalkaringi and Daguragu are represented by one person, at meetings six times a year.

THE TOWN TODAY Big Shady, Bower Website, 2019.

My impression of Kalkaringi is that although it is small, there are places which become hives of activity. According to my understanding, the most populated areas are the shop and the social club - the essentials! Other places of significance are; the Karungkarni Arts Centre, which plays an important cultural role within the community; the Community Hub, that is currently a run-down building, to be rejuvenated in our Bower 20 project; and the â&#x20AC;&#x153;Big Shadyâ&#x20AC;? as built last year, as a representation of the various iconic pavilions constructed throughout the region.

Community Hub, A. Roper, 2020.

Karungkarni Arts Centre, Bower Website, 2018.

The Shop, M. Yanez Sainz, 2019.

Warnkurr Sports & Social Club, A. Roper, 2019.

KEY KALKARINGI CHARACTERS The people introduced on this page are our main points of contact with the local community for this semester.

Robert Roy (RR) is a Gurindji man, whose parents were part of the historical Walk Off. He still lives in Kalkaringi with his family and is significantly involved in the activities of the town. RR plays a key role in the Gurindji Aboriginal Corporation as official Coordinator and Liason for Communtiy and Traditional Owners. He is a good friend of the Bower studio and is particularly interested in the planned renewal of the Warrnkurr Club.

Penny Smith as the Karungkarni Arts Centre Manager, has been working with the community for almost 10 years. She has worked with Bower Studio previously and will be involved in some of this semester’s projects.

Phil Smith is the General Manager of Gurindji Corp and is an exemplar “Kartiya” who has worked at Kalkaringi for around 8 years. He is an ethusiastic point of contact for all Bower projects.

Quitaysha Thompson is a Gurindji woman who grew up in Kalkaringi. Her mother is Traditional Owner Roslyn Frith. She currently lives in QLD but plans to return to run the anticipated Family Centre; the Bower project she will be mentoring. More information on Quitaysha to follow.

04 MAKING Esquisse 1 Visualisation.

As our first studio assignment, my group created a documentary critiquing international examples of Indigenous culture spaces, focusing on their design and making in both architectural and political senses. Through our research we analysed numerous buildings worldwide, and noticed some areas which could be used as indicators for the level of success of a finished project. The factors which are more likely to lead to a successful project include: 1. Genuine community engagement; 2. Clarity in who the design is for; 3. A purposeful programme. Engaging the community and taking a participatory approach is crucial in establishing trust and lines of

communication to tailor the project to the communities actual desires, and encouraging local involvement so as to develop pride and ownership in the project, thereby empowering locals to be self-sufficient in its continued use. This point is being ensured in the Kalkaringi Community Centre through consultation with the locals, and by restricting the Bower Studio’s role to the exterior and place-making tasks, therefore creating the opportunity for local people to make genuine contributions to the project.

and non-architectural challenge, especially when considering where the funds are coming from and who really stands to benefit from a “successful” project. In Kalkaringi, it sounds like the funds are coming from the government, but it is unlikely this Centre will be designed with tourists as the target users. At this stage, it would appear that the intended user group will be consistent with the actual user group.

As mentioned above, some issues are too big to be solved through architecture, however projects with Significant community projects, especially those presented as being for narrower, defined intentions are generally successful. I consider it local Indigenous peoples, often have crucial that the Kalkaringi Community competing stakeholders to consider; Centre has a clear, specific from locals, to governments and programme identified to ensure its tourists. Navigating these contrasting longevity in the community. agendas is a difficult architectural

https://www.youtube.com/watch?v=lMPzuxI74Sw&feature=youtu. be&fbclid=IwAR2bZ0iGw9bYWMMLKbeBioHITvQLDkgkTDPRL98qid9_cw6NT-9GynB3iLw

MINI-DOCO: INTERNATIONAL CULTURE SPACES

Tjibaou Cultural Centre, J. Gollings, 2000.

Gathering Circle at the Spirit Garden, 2017.

Cree Cultural Institute, M. Lenet, 2011.

Rong Cultural Centre, S. Majidi, 2019.

Women’s Centre, Al Jazeera, 2014.

Thread Artist’s Residency, I. Baan, 2015.

Overall, many of the themes noted in my own groupâ&#x20AC;&#x2122;s documentary are further evidenced in the Australian examples. For instance, the successful Garma Cultural Knowledge Centre is exemplary of an extensive participatory approach. This resulted in the building as a storytelling device, with cultural symbols and meanings even unknown to the architect.

MINI-DOCO: AUSTRALIAN CULTURE SPACES 56

One observation I had made through researching worldwide examples is particularly prevalent here; the tone and purpose of cultural spaces is different when the Indigenous group it is created for is part of a historically marginalised community, and in particular places are places with colonial pasts. These projects could be classified as attempts and shows of reconciliation.

Garma Cultural Knowledge Centre, P. Eve, 2019.

I noticed that the architectural projects in Canada are about giving voice and recognition to the Indigenous people who had been previously ignored by the majority, and this theme is consistent with the Australian examples provided. These Australian spaces often have the purpose of celebrating and displaying culture, usually leaning more on the side of tourist education rather than performing an important functional role within the actual local community.

MINI-DOCO: MEMORIAL LANDSCAPES This documentary created by my classmates highlights the influence that being aware of the significance of the landscape has over the experience of it. Examples that they investigated often flipped the hierarchy of people and building, therefore questioning the importance (or non-importance) of a built intervention. In many cases, sacred landscapes of Indigenous Australians seem to be part of processes of memorial, giving context to storytelling that is communicated through a journey. Whilst these places may look like nothing more than the natural environment to the oblivious, they may be ripe with meaning for the knowledgeable. This has made me consider how I take the landscapes I frequent at face value and has spurred me on to research what their cultural significance may be for Aboriginal people. I now feel quite ignorant in claiming to be so fond of some of these places without knowing more, or perhaps more importantly without having the desire to know more about them.

Kalkaringi, Bower Website, 2016.

Bundian Way, J. Blay, 2016.

MINI-DOCO: BEST PRACTICE It was great to learn from my peers about community consultation techniques, especially when informed by their own experiences. The documentary spoke of topdown and bottom-up approaches to design, with the bottom-up style better reflecting the successful examples found in my own research. Further, it was mentioned that the building of trust is fundamental in genuine consultation practices, again aligning with the findings of my researched examples. However, it is also important to note that each and every situation is unique; varying not just between locations and people, but even on differing briefs within the same community. Community Consultation Techniques, Bower Studio Mini-Doco, 2020.

In terms of communication we have been informed that at Kalkaringi, silence is also a valuable form of consultation. It can convey a multitude of messages in itself, as well as provide opportunity for more meaningful sharing of information. This is interesting to learn, coming from a society where silence is often perceived as awkward and something that should not be prolonged. Something else that addresses language barriers is the ability that models and drawings have in achieving universal understanding. It is therefore critical to present ideas through these physical means, and spring-boarding from the earlier point on bottom-up consultation even better to have the community model and sketch ideas themselves!

This means their ideas can be more accurately pursued. Lastly, I am very much looking forward to the “off the clock” discussions that are bound to happen in Kalkaringi. These are the kinds of valuable, friendly conversations that can really only exist when thrown together in a confined environment like this. They’re not something that ordinarily happens between the client and designer. I’m hoping this will result in much more considered and personally tailored architectural responses than usually comes from university assignments. I am curious to see how these chats will impact on my design sensitivity and thought processes.

ESQUISSE 1 ART SPACE Esquisse 1 Development.

The Karungkarni Arts Centre in Kalkaringi has previously been a site for Bower Studio construction. With stacks of canvases piling up, this brief asks for an art storage and exhibition solution. In particular, it is hoped that stored artworks remain easily accessible, and that the exhibition could flow out of the workshop space for Freedom Day. N

Esquisse 1 Plan.

LAYOUT PLAN

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As a group, we liked the idea of moveable units, meaning exhibitions could be created in any position. They would be timber framed and have mesh sides so artwork of any size could be hung as desired.

Esquisse 1 Development.

Esquisse 1 Precedent, A&B Project, 2015.

Esquisse 1 Development.

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Esquisse 1 Visualisation.

Now working individually, I did some exploratory sketches and precedent research. I discovered it would be difficult to satisfy both sides of the brief with one unit because to ensure my design intention of exhibition flexibility, the units would need to be lightweight. Meanwhile, the storage units would become heavy when full. I then had the idea of using the storage unit as the home of the display unit, for when itâ&#x20AC;&#x2122;s not in use. This means the two elements are components of the same system.

Esquisse 1 Elevation.

STORAGE UNIT ELEVATION

Esquisse 1 Axonometric.

Whilst the storage units have wheels, they would remain in a semipermanent position. The exhibition display units can easily be placed anywhere, including outdoors (and brought back inside when required). For ease of construction, these parts are timber framed (with simple butt joints) and braced by sheet metal; with circle perforations to enable hanging paintings, and chosen to be consistent with the established Bower aesthetic.

Esquisse 1 Physical Model.

The pieces required can all be cut to size in Melbourne, with flat parts pre-assembled for loading into the shipping container.

Sheet Metal, Bower Website, 2018.

Esquisse 1 Physical Model.

ESQUISSE 1 PRESENTATIONS & FEEDBACK These were the first formal presentations we have done, and the first time presenting via Zoom. I think they went reasonably well, but it is hard to get used to the human disconnect. For example, I found it daunting to be presenting and not being able to instantly gauge the reaction of my audience as I spoke. Similarly, when my classmates were presenting I might normally nod and smile for positive reinforcement, but that level of active listening becomes irrelevant when you canâ&#x20AC;&#x2122;t easily see each other. In terms of the success of my design proposal, I think that Penny was quite interested. She mentioned that it was a simple, manageable system, which I am happy to hear because that is how I intended it. She did raise the point that metal placed outdoors becomes extremely hot, which is a consideration I hadnâ&#x20AC;&#x2122;t fully realised. I think my proposal would perform adequately in the heat, since the parts to be directly handled are timber. However, this is something I need to recognise going forwards. Secondly, many of my classmates dealt with protecting the artworks from dust in clever ways, which is something I did not delve too far into. I made this choice purely because my key design aim was keeping the structure lightweight, so avoided adding on more parts. Having said this, a sheet (or similar) could be thrown over each storage unit when required; perhaps this would be a next step to formally design. One aspect I did consider, which many didnâ&#x20AC;&#x2122;t, was that many of the paintings are sheets of canvas rather than stretched over a frame. My storage unit has a smaller compartment which provides a home for rolled canvases to be stored. A general representation point to consider moving forward, is the value of using Kalkaringi colours and textures in imagery. This really helps to bring character to the drawings, provide a sense of place, and makes interpretation easier for those who are new to understanding the project. Penny also pointed out that it is appropriate to use Aboriginal art in our visualisations, but it would be pertinent to use local Kalkaringi artworks, rather than sourced from just anywhere - as Aboriginal art is location and culture specific.

Esquisse 1 Physical Model.

05 CONSTRUCTION Kalkaringi, Bower Website, 2016.

Shading Physical Model, D. Oâ&#x20AC;&#x2122;Brien, 2020.

THE BOWER APPROACH Collaboration is of utmost importance because the projects which Bower engages with respond to specific needs of the community, whether they be achieving short-term goals or setting in motion bigger processes. Not only are the needs of each community varied, but the way in which these projects manifest as built pieces of infrastructure will depend on the unique desires and context of each community client.

This post-graduate studio has worked with many Indigenous communities throughout Australia and South-East Asia over the past 12 years. Bowerâ&#x20AC;&#x2122;s methodology is to only work in communities which they have been expressly invited into by the local leaders, and when they contribute a local workforce to the project. Through genuine community consultation and collaboration, more meaningful outcomes are achieved for those who a sense of ownership is intended - the locals and not necessarily the student team.

This approach is made stronger by the dedication of the studio leaders who make a point of revisiting completed projects. Reflection is an important part of any design process, but is particularly pertinent when learnings could influence future projects. Revisiting communities also allows for the continued thriving of relationships and opens the opportunity for future collaboration - where funding permits.

Bower Studio, A. Traylen, 2019.

Due to its government ownership, Kalkaringi is in a relatively good position when it comes to funding, in comparison to neighbouring towns. This is the fourth Bower project to be held in Kalkaringi, which means for us now that relationships and trust between Community and the team are well established.

THE COMMUNITY CENTRE The project which Bower 20 is working on is the transformation of the community hub. This facility is planned to bring together health and education facilities, house the Gurindji Corpâ&#x20AC;&#x2122;s headquarters and the Karungkarni Arts office. It is an old building, built around 50 years ago, and is currently far from in working condition. Renovations both internal and external are planned for the building, with Gurindji Corp taking on the interiors for the most part. The role of Bower Studio is particularly with regards to external shade structures and landscaping, with place-making the ultimate task for this project.

Shading Physical Model, D. Oâ&#x20AC;&#x2122;Brien, 2020.

The confirmed parts of our project are the engineer-endorsed shade

structures, which will be constructed on site using many prefabricated elements. Other parts which will more likely be decided on site include aspects of site planning, benches and landscaping elements. I suppose these smaller inclusions are things which would benefit from experimenting with their locations and possible uses on the final site. The design of these shade structures commenced midway through last year and our studio leaders, along with the student mentors, visited Kalkaringi this February to present the ideas. Utilising the established Bower aesthetic, the design concept of these sun shades is to appear as is the walls of the community centre are unfolding and opening up the building for the whole community.

Concept Design: Walls Unfolding.

PROJECT INTRODUCTION Engineering Presentation.

The shipping container has arrived on campus and today we received delivery of the steel. I was excited to see that the steel grate parts have already started the rusting process and are showing hints of the outback colours! We were starting to pack these materials into the container. David also showed us how layering the patterned steel sheets can create really interesting wavey shadows. This layering technique has been used in previous Bower projects and is used on this project. The community likes it because it provides similar type of dappled shade to a tree canopy.

The ARUP engineers presented the project we will be building. They explained how weight is transfered through the members, how it deals with wind loads, and how it counterbalances the angle.

Shadows.

Steel.

Shipping Container, A. Roper, 2020.

Kalkaringi Community Centre, A. Roper, 2020.

Included as a design feature to convey the unfolding gesture, the angles were calculated to create a self-supporting cantilever over the footings.

ARUP ENGINEERS

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Shading Side Elevation, Bower Studio, 2020.

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Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010 Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au

CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852 Phil Smith

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Another important factor for ARUP to design for were the wind loads, as winds can be very strong at Kalkaringi. The physics principle to understand here is that loads are transferred to the ground by the most efficient path, which means the columns will resist varying amounts of weight between them. With the steel screen surface area attracting wind loads, the forces

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Many elements were designed to be pre-fabricated to make the time spent on site as efficient as possible, as well as reduce reliance on specialist trades. Both the double-thickness equal angles and the base plates to the column connections were prewelded.

increase as they travel toward the ground. With the central EA columns receiving double the load of the edge ones, they are required to be double thickness. This is resolved simply by welding a smaller size 125EA to the inside of the main 150EA; this is not visually obvious but it increases the member strength. This also affects the size of the pad footings, with the central ones larger than the edge footings.

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Primarily, the ARUP team had to keep in mind that these shades would be put together by hand, rather than with machines, which meant limiting the weight of each element. A specific example of this is that the steel columns had to be a maximum of 150EA profile. This smaller sized section was achieved by reducing the spacing between the columns and decreasing the porosity of the steel mesh screen to improve its ability to brace the primary structure. Furthermore, the concrete pad footings would be precast, because

hand-mixing such a volume as this would be quite unrealistic.

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The designs for the sun shades have been developed through collaboration with ARUP engineers. There were some major design considerations to incorporate regarding constructibility and site conditions.

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A SEMESTER INTERRUPTED Covid-19, Fox TV, 2020.

Unprecedented events have been gaining momentum over the past few months and this week, the country is now in lock-down as a result of a highly infectious virus. Our trip to Kalkaringi has been indefinitely postponed, but we do hope to travel later in the year.

Our class is extremely disappointed by this, however we understand the importance of keeping our distance from such a remote town. Over the next few pages I will unpack what this period of uncertainty means for both the people of Kalkaringi, and my studies this semester.

KALKARINGI IN A PANDEMIC In the second week of March, the government directed remote communities to â&#x20AC;&#x153;close their gatesâ&#x20AC;? to non-essential visitors. This is to prevent the virus spreading generally, but also because these Aboriginal people are particularly vulnerable. A range of factors contributes to this status, including prevalent medical conditions and high rates of smoking. Furthermore, the houses in towns like Kalkaringi are frequently overcrowded, so social distancing as practiced in urban areas is just not possible.

As a result, estimates suggest that if the virus does arrive in Community, it would take just 48 hours for it to spread to everyone within proximity. According to our discussions with Phil Smith (Gurindji Corp), the new guidelines which require the Warnkurr Club (local pub) to close down will have some left-of-field health impacts. With no alcohol being sold in town, locals will drive further away to find some, which increases risks of drivingrelated deaths. This was a key reason for establishing the club in the first place. Furthermore, locals who hitch a ride out of town for supplies may be unable to get themselves back for a while if travelling rules are enforced, potentially leaving families without a way to obtain food.

UNIVERSITY IN A PANDEMIC

On the plus side, whilst school is put on hold, apparently many children are excited to head out bush for a while and go fishing instead!

As all our travel will not occur during semester, we are jumping straight through to our major design projects. I have been allocated to the Kalkaringi Family Centre design, which I am very excited about! Although we will no longer engage with the local community as previously expected, this is a real project, with a real budget, and huge potential to make a positive impact in Kalkaringi.

The ways in which we participate in university has changed very quickly! We now attend all classes by video conference, which is a learning experience for everyone. We are lucky to be living in a time where technology enables us to continue as per (almost) normal. It will be interesting to see how effectively we can communicate and present via this new platform. We are also lucky to have such committed teachers, who are determined to follow through on our construction project as soon as is reasonably possible.

Kalkaringi, N. Cain, 2019.

MOTIVATIONS REVISITED It was difficult news to accept that our visit to Kalkaringi was canceled, but essential to move forward with our respective projects because they are genuinely important processes to set in motion for the community. Revisiting my motivations from the start of semester, it is clear that they can still be pursued, just from a slightly different perspective:

Studio via Zoom.

• Improve the lives of people. The driving features of Bower Studio remain as they always have been. The design processes and architectural ideas worked through this semester play an important role in enhancing the lived community experiences for the people of Kalkaringi. I want to be able to propose a really good option because I want for the community to have a fantastic Family Centre facility.

• Get hands-on. Whilst unable to actually build structures myself, having this theme of “buildability” running through my head has been a good reminder to think about the practicalities of construction in Kalkaringi. This awareness certainly lends itself to a more feasible design, which is the end goal! • Learn from others. This point is turning out to be quite the unexpected challenge whilst in isolation! A formal effort has to be made to have informal “studio chats” and what may have been serendipitous conversations in Community are now structured video calls. Regardless, it is always helpful and motivating to hear and learn from the people who will be engaging with the Family Centre.

• Get out there and see Australia. At the moment I’m visiting Kalkaringi through the eyes of others, which actually provides a different level of community engagement. I am more able to understand the town as Quitaysha does, rather than be influenced by my own interpretations. • Enjoy the process. When I first wrote this, I acknowledged that sometimes there is no plan, and I challenged myself with relaxing into this. The plan has been entirely hijacked, but with this goal in the back of my mind I have remained relatively focused and motivated. This new process has given us some things which we wouldn’t otherwise have, such as increased time to design, which will create more thoroughly considered proposals.

06 BRIEF Community Hub, A. Roper, 2020.

Chigwell Child & Family Centre, R. Joyce, 2013.

INTRODUCTION TO DESIGN BRIEF

We were then able to digitally meet Phil (from Gurindji Corp) who gave us some more detailed direction on the brief. He said the aim is to establish a place where families can be supported and where they can go for a “dose of happiness” through participation in activities. By locating it with the existing crèche centre and medical clinic, a health precinct can be created.

I recall first hearing about the plans for a Kalkaringi Family Centre through our mentors, prior to applying to be part of Bower Studio. It sounded like an important, worthwhile project which I am pleased to have been allocated to! Our first project briefing came from David via email: “It is co-located with the early learning centre... across the road from the health clinic. Funding has been secured ($2 million) but no designs have been made as yet.” Now we have an idea of the site and the new facility’s physical context - see the blue circle. (Red and green are our classmate’s project sites).

He has suggested that this Family Centre would house three main programs; open spaces for community activities, perhaps two confidential spaces, a managerial/ reception space plus kitchenette; all of which should be as open plan as possible. This facility should also cater for outdoor activities with an informal outdoor meeting area, as well as considering landscaping to connect with the neighbouring buildings. As I understand it, the views looking west and south west down the street, plus linking with the existing playground (north) is preferable to views towards the footy oval. Phil also mentioned the aspiration to include accommodation units with this facility, which may be considered a stage two item.

Kalkaringi Map, Google Satellite, Annotated by D. O’Brien, 2020.

So far, it is looking like this project will present some interesting challenges as my design must deal with juxtapositions of public and private spaces, fun and serious programs, approachable and discreet entrances, adult and children users, indoor and outdoor functions. There is a lot to be thinking about!

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The consultation rooms are a key element of this brief and they must allow for confidentiality. Quitaysha mentioned the hesitations of her community in attending private meetings that would occur here, and combined with the smalltown nature of “everyone knowing everyone’s business”, it is crucial that the entrances to these consulting rooms are treated sensitively. In fact, r ff e Bu Quitaysha felt so strongly about this point, that she requested a change of site. She felt that the building would 90 Oval be overall too visible (from the school area in particular) at the site next to the oval.

Future Housing

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She has made it abundantly clear that the building should be open and 118 140 welcoming, which may be achieved through natural light, views outwards, and/or cultural decoration; which work to help visitors feel at14home. 1Further, 17 1 Quitaysha spoke about how she wants this building to be open to everyone 142 and be a place that facilitates the coming together of community; men, 116 women, and children (mostly aged five and older, with the existing early 143 learning centre), are equally welcome, with a special focus on youth.11Having 5 144 said this, she has urged us to understand cultural barriers which mean that 121 spaces for men and women generally should be separate. Another reason to 71 109 145 121develop separate areas are the cultural rules regarding certain people who should be kept distant from one another - such as poison cousins.

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This week we were able to speak with our project mentor Quitaysha Thompson, who grew up Kalkaringi and whose mum is a Traditional Owner. She moved to Queensland to attend university and now works there as a research assistant, looking at the impact that family centres and community activities have on child and maternal health. She wishes to return to Kalkaringi with her husband and children, to run the Family Centre we are now designing. Quitaysha’s knowledge and opinions are therefore critical in developing this project. She has even provided us with a conceptual spatial arrangement 137 120 sketch, so we can start to understand what her expectations and lines of 138 thinking are. 119

DESIGN BRIEF: FORMAL REQUIREMENTS • Waiting areas: Separate spaces for men and women, with seating. • Office space: Completely open plan and able to accommodate two to four staff. No formal reception area required with people able to move around freely. This is the central area where visitors are directed into their rooms. • Consultations rooms: Two or three confidential rooms with discreet entrances, separate from the main entrance. Would be ideal to have one designed for young families and another for older ages, both with video conferencing capabilities. To be appropriately sound-proofed.

• Group activity spaces: Both indoor and outdoor areas, each with capacity for approximately twenty people, but may vary between. There should be enough indoor rooms for concurrent activities, including separate areas for mens, womens and youth events. The outdoor spaces should be shaded and have seating for informal gathering. • Computer desk: A “hot-desk” allowing community computer work. Would be positioned to be visible by the manager. • Kitchenette: For staff use and light catering purposes. Include as much freezer space as possible! • Store room: A lockable area for facility equipment.

• Bathrooms: Allow for approximately two mens and three womens WC’s, with provision of baby changing facilities. • Landscaping: Include gardens which create meeting places, allow a level of privacy, and link with adjacent buildings/ the site. The idea of “Desert Gardens” apparently resonates with the community. • Covered car parking: For around six vehicles. • Accommodation: Potential for one or two on-site residencies. Indicate positioning, but designing to be a second stage requiring additional funding.

FAMILY & COMMUNITY ACTIVITIES According to the Kalkaringi Child and Family Centre Business Plan (p.11), these are some of the events, programs and activities which would be held in the new building: • Early years occupational therapy programs • Men and boys health / Women and girls health / Mums and bubs • Adult education / Ready for work / Work experience programs • Healthy eating and cooking programs • Drug and alcohol awareness • Financial literacy and household budgeting • Legal support

• Leadership workshops • Grief, trauma and loss programs • Family film nights • Connection to country camps • Art and cultural knowledge transfer workshops • Regular children and youth program • “Batchelor Institute” • Territory housing • Sports, music and celebrations activities • First aid / Infant first aid • Healing workshops • “Junior Ranger” program • Family engagement in the annual Freedom Day celebrations More specific activities as mentioned via conversations with Phil and Quitaysha include: • Youth empowerment (could involve dance, film-making, etc...) • Cultural teachings in relation to family practices (including bush tucker, traditional medicines, etc...) • Catering for events (base level)

Freedom Day Festival March, N. Zicchino, 2019.

PROGRAM SPATIAL REQUIREMENTS I have begun making assessments about the spatial requirements for each element of the brief, to understand the sizes of spaces in relation to one another. Group activity rooms (G1-4) have been sized by using the rule of thumb 6-10 ft2 per person. The 50m2 rooms accommodate 20+ people, depending on the activity. The 36m2 rooms are suitable for groups of 10-20 people.

Green = private spaces Red = publicly used areas

The Consulting rooms are each a unique size to cater for varying numbers of users, whilst keeping the setting quite intimate and safe.

Following this, I arranged these boxes in the way which Quitaysha demonstrated in her initial sketch. This helps me in starting to see how the different programs interact with each other, and where Quitaysha expects relationships between them to exist. Looking at this now, I wonder whether there are too many larger group activity rooms, especially as designed outdoor areas could also be utilised. I think it would be a better use of space to have just one 50m2 room with the smaller two able to join into one larger room.

PROGRAM CONNECTIONS

VISITOR MOVEMENT FLOW: GROUP ACTIVITIES

These diagrams investigate how the different spaces may interact with each other. The main image here focuses on which neighbours each program should logically have, by linking spaces which rely on each other to enhance the experience there. Over the page, linkages are drawn by imagining how particular user groups may journey through the building.

LANDSCAPING

OFFICE

WAITING

GROUP ACTIVITIES

STORE KTN

PRIV. OUTSIDE

WC CONSULTING ROOMS

LANDSCAPING

OFFICE

PC PRIV. OUTSIDE

WAITING

STR KTN

CONSULTING ROOMS

A consistent observation is that the public spaces tend to create a strong pathway, whereas the consulting rooms only link directly with the office.

Red = Public space Yellow = Semi-private space Green = Private space

STAFF MOVEMENT FLOW:

LANDSCAPING

GROUP ACTIVITIES OFFICE

CONS. ROOMS

97 GROUP

TIME (24H)

RELATIVE NUMBER OF USERS

0 1

4 5 6 7

8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 COMPUTER OFFICE

CONSULTATIONS COMMUNITY

SPECULATIVE TEMPORAL USE DIAGRAM

USE MANAGEMENT

WOMEN’S ACT.

MUM’S & BUBS MEN’S ACTIVITIES

EVENTS

YOUTH ACTIVITIES

TEMPORAL CENTRE USE Through this exercise of mapping out when programs might be used throughout the day (and roughly proportionate user numbers for them), it is clear that there may be as many as four community activities occurring at the one time. On a few pages previous, I had suggested including four group activity rooms to care for these events, but I am now thinking that it may be better to have just three where there may be one main space, with two slightly smaller activity rooms which are able to connect up (or partition). It could be assumed that one or more of these events may be based outdoors anyway.

Summer 96o

SITE ANALYSIS

Winter 49o

From this site analysis, there are a few points which I believe will have a huge impact on the final design. gu

ra g

Of particular interest to me are the views to set up from the building. We have been told about the community preference for people-watching, therefore it is important to allow sight lines south along the road, towards the town centre. This is not to forget about the landscape views to the north, which may be more suited to private programs or land-based cultural activities. These sight lines outwards are also valuable to consider inwards, when thinking about their impacts on privacy requirements.

N Sun Angles @ Latitude 17.44oS 50% 40%

30% 20% 10%

0-10km/h <20km/h <30km/h

<40km/h

S Dry Season Wind Rose (@ Tindal) N

30%

20%

<40km/h <30km/h <20km/h

10%

0-10km/h

S Wet Season Wind Rose (@ Tindal) N0

100

50m

Site Access / Circulation Desirable Views

Looking at the wind roses, there appears to be a very strong, hot wind that blows from the south-east during the dry season. It would be important to use structure as a shield against that direction, especially to allow comfortable outdoor activities.

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07 INVESTIGATION Roebourne Children & Family Centre, P. Bennetts, 2015.

ACT for Kids, P. Bennetts, 2014.

PRECEDENT STUDY 1: ROEBOURNE Roebourne Children & Family Centre (Roebourne, Western Australia) Iredale Pedersen Hook Architects With the main user group being the local Indigenous community, this project faced similar challenges and considerations to what mine does. Therefore, the approaches they took are directly applicable. Overall, this building helps me start to visualise what a purpose-built family centre may look like in a remote location of similar climate. This design is the physical manifestation of some cultural issues explained by Quitaysha. The general ideology of this project was to be driven by community consultation, and to create a building

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that emphasises way-finding and place-making features. I think this building has many successful aspects, such as; creation of undercover outdoor areas, window heights accommodating shorter users, separation of pavilions to allow concurrent activities, utilisation of natural climatic conditions, and an obscured entrance for health and counseling services. My critique is centered on the interiors, which appear to be missing a sense of place; they look identical to comparable facilities in Melbourne! This could be resolved by better incorporation of local cultural elements like colours, textures and artworks. From this, a more welcoming feeling could be

Roebourne Children & Family Centre, P. Bennetts, 2015.

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Roebourne Children & Family Centre, Iredale Pedersen Hook Architects, 2015.

achieved. Further, I am not impressed with the furniture included, nor the accommodation for childrenâ&#x20AC;&#x2122;s entertainment. Elements here could be built-in, or generally have more appropriate character. Finally, the plan could be more open in many ways. Based on Quitayshaâ&#x20AC;&#x2122;s words, I think this building would be uncomfortable in that it does not offer adequate views outwards or around the interior itself. From the photos, each room feels quite enclosed, which may pose an issue. I understand that glazing must be kept to a minimum in this climate, but this is a challenge to be addressed for Kalkaringi.

Roebourne Children & Family Centre, Iredale Pedersen Hook Architects, 2015.

This project is really helpful in elevating my understanding of the value of including local interior design and decoration elements. Simple gestures, such as built-ins, exude an architectural sensitivity, having the effect of creating rooms which feel personalised and less generic.

Roebourne Children & Family Centre, P. Bennetts, 2015.

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PRECEDENT STUDY 2: PTUNARRA Ptunarra Child & Family Centre (New Norfolk, Tasmania) Morrison & Breytenbach Architects This project is exemplary of an open and light-filled community space, which is consistent with Quitaysha’s hopes of the Kalkaringi centre. It is a useful example in its success as an open-plan and its simple, modular typology. It is also particularly applicable in its ideology to be a noninstitutional place at a user-friendly scale, which builds community. From my analysis, there are many points of success in this design. Most

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significantly, it demonstrates the advantages of an open plan with the ability to section off spaces, whilst retaining lines of sight through the building. This contributes to the feeling that this is a casual drop in/ out facility, perhaps fostering a more approachable place. Within the open areas, spaces are softly indicated with focused clusters of lighting. Secondly, the material palette includes softer natural materials and colours, which curate a warm and welcoming atmosphere. Upon looking at the photos, there are no sterile white walls with the architects giving preference to finishes like timber paneling. Furthermore, this project gives an excellent example of how children can be considered as important users, with the dedicated in-built “playground”. This affordance cannot be understated, in not only keeping

children occupied, but helping parents in feeling that they can bring their children with them; that they are equally all welcome in this building.

Ptunarra Child & Family Centre, R. Joyce, 2019.

With regards to what could be done better, there were just three points which came to my attention. Firstly, the public function occurs down one side of the building with the private rooms on the other, but there is no allowance for a discreet entrance for confidential users. Secondly, whilst the building does interact with and overlook the outdoor space, it really just sits adjacent to it rather than creating “outdoor moments”, as was done quite well at Roebourne. Both of these issues seem to arise as a result of the regular building form. Therefore, perhaps it would have been beneficial for the architects to add on nodes or angle/offset the volume in places, to create obscured entrances and to better caress the outdoor areas.

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Ptunarra Child & Family Centre, Sketch Plan.

Finally, although I have counted the open plan as a success, this point of my critique regards the impression that the openness could give visitors. With the photos which donâ&#x20AC;&#x2122;t show furniture, it is difficult to see how the spaces would be utilised and a big, empty room can be uneasy for users, causing uncertainty about what to expect. See below for the similar open plan spaces at Ptunarra and Chigwell (same architects), where Chigwell includes features which breaks down and defines the space. My learning here is that it is important to include furniture which indicates what kind of activity is to occur in each space.

Ptunarra, Discreet Entry Sketch.

Ptunarra, Outdoor Engagement Sketch.

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Ptunarra Child & Family Centre, R. Joyce, 2019.

Chigwell Child & Family Centre, R. Joyce, 2013.

Ptunarra Child & Family Centre, R. Joyce, 2019.

Through analysing this project, I have been reminded again that climate is an important driver in material selection. For example, this wall of glass is not realistic or suitable in the Kalkaringi landscape. Finally, even amidst an open plan space, it is valuable to indicate some kind of spatial hierarchy, flow throughout, or indication of congregation area to avoid an empty, potentially intimidating space.

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PRECEDENT STUDIES: GROUP DISCUSSION After presenting my analyses I was asked a question about which project I considered to be a better precedent for the purposes of our project. I think in this process it’s important to look at numerous projects and draw out the best elements from each of them. Therefore, Roebourne is a good example for generating different spaces for concurrent activities and successfully creates shaded outdoor areas which interact back with the building. However, Ptunarra demonstrates the inviting feeling of a light-filled open space and emphasises the value of built-in elements. James also had a comment regarding my assessment of the “sterile white walls” at Roebourne. He said that it reminded him of a project in New Guinea where the plan was for local traditional techniques to be included, but the community actually said “no, we’ve advanced past that” and actually preferred a more westernised finish. James was making the point that I should be more careful in assuming that “cultural finishes” would be preferable. This caused me to go back and look at the interior photographs of Roebourne more carefully and I actually came across some additional documentation made public. It shows that each of the major rooms colour schemes had been inspired by a local plant or landscape. I like this idea, as it has been applied subtly so doesn’t come across as naff. It’s also a nice way of differentiating between rooms. However, whatever the intent, my first impressions drawn from the interior photographs remains; the white plasterboard walls are generic and uninspiring. Perhaps it’s more that they are overwhelming in this project so would preferably be used more sparingly.

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Roebourne Children & Family Centre, Iredale Pedersen Hook Architects, 2015.

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PRECEDENT STUDY: CHIGWELL Chigwell Child and Family Centre (Chigwell, Tasmania) Morrison & Breytenbach Architects My classmate then presented Chigwell which seems to take the idea of built-in joinery to the extreme. As a group, we discussed the extent to which such in-built elements should be included in our project because there is inevitably a trade off with the budget. We decided that it is really important to draw in children and allow them to feel welcome, because that is often why parents will come along.

Chigwell Child & Family Centre, R. Joyce, 2013.

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Chigwell Child & Family Centre, R. Joyce, 2013.

Chigwell also gives a great example of the utilisation of level changes, which also seem to read like joinery. A drop of about 400mm provides a nifty space for mums to sit around the edge with bubs in the middle. Elsewhere, a couple of stairs segregate the entrance foyer from the main activity area. There are advantages to open plan with spatial flexibility and of lines of sight throughout, however we did agree that they would need to be used selectively to allow for concurrent activities at Kalkaringi.

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ACT for Kids, M3 Architecture, 2014.

PRECEDENT STUDY: ACT FOR KIDS ACT for Kids Centre (Townsville, Queensland) M3 Architecture This project was presented by my classmates, with a key point of interest being the outdoor areas which provide more spaces to populate. They also create opportunities for increased privacy, both in terms of circulation throughout the complex, by narrowing approaches and view lines, but also when individually attached to therapy rooms. We also collectively discussed what makes a good outdoor area. One of my classmates said; it would lend itself to concurrent uses (so creating multiple areas) and that shading would be an extension of the building. I think that itâ&#x20AC;&#x2122;s also important for the outdoor spaces to engage with the building itself in such a way that allows them to be experienced as outdoor rooms, not separate from the facility as a whole.

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ACT for Kids, P. Bennetts, 2014.

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PRECEDENT STUDY: WOODLAND NURSERY

PRECEDENT STUDY: DALA YOORO

Kinderkrippe Nursery School (Hamburg, Germany) Kraus Schönberg My classmate presented this project and I have included it here because I think it is a great precedent with regards to the arrangement of the plan. Through locating the areas around a central node, outdoor “rooms” are established by the three shared walls. By doing this, the wider outdoors is pulled into the building too.

Dala Yooro Early Learning Centre (Bairnsdale, Victoria) Baldasso Cortese As brought to my attention by a classmate, I wanted to include this project as an example of a warm and inviting space through materiality. I would love to be in this room and run my hand along the textures. With the timber finishes and rammed earth walls, I’m sure it would also have a lovely smell. The decoration on the walls makes me want to include art displays in the design scope for Kalkaringi, as I think it creates a sense of ownership for the users.

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Dala Yooro Early Learning Centre, P. Clarke, 2015.

Kinderkrippe Nursery School, Kraus Schönberg, 2016.

Whilst I think this has potential in Kalkaringi, it does create a whole lot more exposure into rooms from other unexpected places throughout the building, so it would need to be handled carefully for the privacy of the consulting rooms.

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ARCHITECTURE FOR ABORIGINAL CHILDREN AND FAMILIES Architecture for Aboriginal Children and their Families: A post occupancy evaluation of the Taikurrendi, Gabmididi Manoo and Ngura Yadurirn Children and Family Centres. Elizabeth Grant, Michael Colbung, and Ian Green, 2015. This research paper looks at the successes and deficiencies in numerous family centres. I have found some of their direct data, obtained through various research techniques, to be worth noting. Some of these points reinforce my learnings from the precedent studies and sources discussed earlier. The researchers have compiled a summary list informed by interviews, of the elements which make a building “an Aboriginal place” (p. 142). The ones which I would

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like to keep in mind when designing are; seamless indoor-outdoor connections, views to observe throughout the building, informal meeting areas, fire pits, natural colours and materials, and art pieces conveying culture. This last point is reiterated when the researchers learned that the Aboriginal community was proud for their culture to be on display because it meant to them that their spirituality and history had been taken into consideration (p. 143). Such art pieces were also said to have “enhanced community ownership, increased the aesthetic appeal and provided prompts for the passing on of oral traditions” (p. 152). From this, I can now confirm that the inclusion of local art and cultural displays would

be essential to include in the design. Some physical recommendations based on areas for improvement identified in the case studies regard; the reception area, consulting rooms, storage, and material finishes. In terms of reception or waiting areas, the desire had been expressed for it to be better set up as a “yarning area” with tea and coffee available. This would establish it as an “informal meeting area” as listed above, which the researchers noted as important in allowing “people to add to and reinforce their support networks” (p. 72), which to me is part of the essence of a family centre such as this. Secondly, the consultation rooms were sized for one or two clients, when they should “be large enough to avoid unnecessary or culturally

inappropriate physical contact” as well as cater for larger family groups (p. 74). This is where having various sized rooms to choose from may be beneficial. The researchers also identified the possibility of creating less formalised settings by having consulting rooms with private outdoor areas (p. 74). This thought is consistent with some of the precedents studied previously. Further, it was mentioned that spaces that inspire children are light-filled, open and ordered (free from clutter), so should be designed with adequate storage (p. 145). With regards to construction materials, there was specific discussion around the use of corrugated iron, with some Aboriginal people associating it with “poor quality housing of the missionary era”, whilst others regarded it as “contemporary and striking” architecture (p. 148). Natural finishes were generally appreciated, such as “stained plywood acoustic panels” (p. 148). Muted, natural colour schemes were also seen as important features (p. 80, 137). This paper also considers the somewhat contentious topic of using “Indigenous signs and symbols as sources of inspiration for architectural design” (p. 152). On the one hand, the researchers determined that it helps the local community in perceiving the centre and its staff as “sensitive and aware of Indigenous cultures” (p. 152). However, it is important to keep in mind that such “symbolism (literal or implied) should only be informed by culturally-appropriate design processes” (p. 152). In other words, it would be an ignorant, ill-informed and tokenistic move to apply cultural symbols without complete support from the local Aboriginal community. The case studies focused on in this paper are located in South Australia, which means the information communicated here, as well as learnings ascertained from projects in other places, must always be taken with a grain of salt. If I have learnt anything from my research thus far, it is to recognise the diverse nature of Indigenous cultures. Consequently, each project must be approached independently (p. 153). Furthermore, to achieve design outcomes suitable to and accepted by the community in question, local Aboriginal involvement is essential (p. 153). For this project we are lucky to have Quitaysha, who is able to speak on behalf of the Kalkaringi community. However, this makes me realise that there is only so far my (university) project can really go, with such a limited level of consultation possible. If at the end of semester, my Family Centre project were hypothetically selected to be pursued, it would really be just a starting point. To be an effective project it would need much more community input, to ensure its acceptance and success over time.

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PRACTICES EMBRACING CULTURE How these design practices are embracing Indigenous culture. Australian Design Review. Stephen Russell, 2018. This article introduces the perspective of an Indigenous architect, Dillon Kombumerri, on the role that non-Indigenous architects have in designing for Aboriginal communities. Kombumerri was initially uncomfortable about non-Indigenous people interpreting culture in design, but he raises the interesting point that ego has less to do with the issue than personal interaction. What really matters is a partnership which

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allows the transfer of skills and knowledge. I find this to be an interesting point because whilst it is true that the community receives a building, the architect has the opportunity to absorb cultural information which may serve them well in terms of industry experience. To that end, perhaps it is also important to ensure an Aboriginal client equally has the chance of obtaining a form of industry experience. This makes me think of the Bower projects where local trade students are able to become involved in construction, and other programs such as Homes Plus where people are encouraged to take part in their home’s construction. Essentially, the Client should become less the passive receiver (common when the project is funded externally) and more the key collaborator.

Walumba Elders Centre, Peter Bennetts, 2014.

This article also notes Finn Pedersen’s (IPH Architects) comment on designing for Indigenous communities; “You accumulate experience slowly and you feel the weight of it”. I think this is particularly pertinent as the more I research this space, the more responsibility I feel to ensure my design contributions are properly considered and genuinely responding to what the community wants.

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ARCHITECTURE FOR THE ABORIGINES Architecture Australia. Kim Dovey, 1996. In this article, Dovey investigates some projects with regards to their standing as buildings considered to be “representative” of Aboriginality. A project which carries much “symbolic capital” is Murcutt’s Marika/Alderton House. In their publicity, the tag line “bridging the cultures” was commonly used, yet when reading Dovey’s excerpt of the BHP promotional interview, it seems to be anything but. The Aboriginal client’s voice is trumped by that of the “trusted (white) professional” and when the Client mentions a cultural concept, Murcutt misinterprets her meaning. With Murcutt proposing this “ground-breaking architecture” as a prototype for Aboriginal housing, I wondered to what extent the architect’s expertise should be listened to, in preference to someone with genuine cultural understanding, and where the designer’s the idyllic design story (as opposed to technical knowledge) sits in relation to this. Dovey then moves on to discuss Burgess’ Brambuk Living Cultural Centre. This project has been critiqued in its use of natural materials and forms, which speak to white assumptions of a ‘primitive’ culture. It seems the architect can do no right; condemned if they do and condemned if they don’t meet the desires of their Indigenous clients. Dovey thereby questions the role of architecture in the ongoing discourse of Aboriginal reconciliation. I think it is difficult to know whether it even has a valid part to play, given the non-material Indigenous values, and easy to say that it is a continued form of oppression to be fitting Indigenous lives into a build form. But I also think this is where the process of community consultation is of utmost importance, because we could sit here all day as the non-Indigenous design professionals and speculate about what they might want and plan how to avoid addressing challenging political issues. What is crucial is understanding what the community wants and how they might expect such a building to fit into their lives. I think a good tactic would be to aim for the building to be a framework which allows culture to thrive.

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Marika-Alderton House, R. Blunck, 1994.

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LEARNING FROM ABORIGINAL DESIGNS IN ARCHITECTURE Andrew McDonald, 2018. The framing of this article is around how “Aboriginal aesthetics” may be brought into architecture. This is a problematic approach as it seems the author is interested in the superficial application of a cultural aesthetic for symbolic capital, as previously discussed by Dovey.

Lockhart River Retail Store, Kevin O’Brien Architects, 2013.

Koorie Education Centre, Gregory Burgess Architects, 2012.

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Djakanimba Pavilions, Insideout Architects, 2014.

In my research, effective project are not necessarily centred on honouring culture, but more about honouring the people, their lifestyles and desires for the opportunities that a building may bring. For example, this Family Centre is primarily about bringing opportunity and providing crucial support for communities’ health goals. As I understand it, for the Family Centre to aesthetically “appear” as

an Indigenous building would be a secondary concern, perhaps only to the extent that it ensures community acceptance by seeming like something that belongs to them, is for them and understands them.

being for the experience of the people using the facility. I have similar critique of McDonald’s section about the Djakanimba Pavilions. The key features of this project are the moveable walls, and collapsible beds which somehow result in a “true sense of Aboriginality”. Unfortunately this again seems like a shallow marketing “tag line” (Dovey, 1996), and I would appreciate further explanation on this project’s rationale. Strangely, there is really limited information on this project online, which indicates to me a high level of curated PR spin, as per Dovey’s (1996) discussion.

McDonald references the Institute of Koorie Education at Deakin University, where “the space and aesthetics of the entire area bring a bold and authentic Indigenous Koorie presence”. As a non-Aboriginal person, I may be missing the point, but I do not understand what this presence is. Perhaps it’s about the warm colours and forms reminiscent of landscapes, but this publicity spiel seems like quite the jump. This is the kind of abstracted cultural interpretation which I would The Retail Store at Lockhart River strive to avoid, as it seems to exist more effectively embodies what the purely for the design story, rather than architects understood to be as >

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PRECEDENT STUDY: BURRINJA CENTRE

> important for the Aboriginal culture there. The front door is located within a seating arrangement under trees, which affords a shaded space for gathering with lines of vision outwards. Furthermore, a local elder was commissioned for the artwork to be applied to an external screen. This makes me think about how Melbourne’s Barak Building could have been approached more sympathetically, as this commission has enabled the local community to share a story. I think it is integral to veer away from regarding a specific user group as a cue to superficially apply some kind of relevant aesthetic. Instead, the approach should be more about understanding the community and considering how that user group would want to engage with the space.

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Burrinja Cultural Community Centre (Burrinja, Victoria) Gregory Burgess Architects Brought to my attention by McDonald’s article (2018), I wanted to further investigate this project. My interest was piqued for two reasons; the first being this aesthetic deviation from other Burgess works, and secondly that I am interested in the interior finishes.

Burrinja Cultural Community Centre, Gregory Burgess Architects, 2011.

From previous research and class discussions, I know Burgess to be a popular choice of architect when

it comes to Aboriginal-focused projects. When comparing this work against others, it breaks from the raw materials he is known to work with, and the organic forms here are more “hi-tech” than rustic. His sensitive methods of community collaboration have resulted in modern and refined style of building this time. The interior finishes of this project have captured my interest, presenting as a refined high-class finish with no essence of the primitive. Through applying natural colours and materials, a softer and warmer space is created, that still read as interiors which are up to date with modern standards; an important strategy when linking back to the sterile white walls of the Roebourne Family Centre project. I also appreciate the tactfully subtle references to Indigenous artwork and landscape on the ceiling, including the geometric paneling and the curving light design (photo top right).

Burrinja Centre, Burgess, 2011.

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CONNECTING TO COUNTRY THROUGH ARCHITECTURE Multiple parallels can be drawn between the advice in this article and the process we are taking for Bower Studio, which increases my confidence that we are engaging in something extremely relevant in the current environment.

relevance for years to come. When consulting Indigenous communities for these projects, Greenaway states that one must be careful not to take the cultural knowledge and “claim” it as your own. I interpret this to mean that unlike absorbing information from a text book, I must remain fully aware that I do not and never will know all the intricacies of Indigenous understanding. What can be done however, is to work towards “demystifying the complexities” of Indigenous knowledge, so that non-Indigenous people are in better positions to embrace the architectural and cultural challenges of it.

Greenaway speaks about the role of Aboriginal architecture in “showcasing the value of Indigenous knowledge systems”. Such buildings are important places in facilitating education of Aboriginal culture, as well as perhaps solidifying its

Most critical is establishing a process which “centres on deep listening, co-design, meaningful collaboration, and acknowledgment”. This quote referencing the practise of “deep listening” makes me think of a music group I was part of in high school. As

Jefa Greenaway, 2017.

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THE INDIGENOUS DESIGN PERSPECTIVE Jefa Greenaway, 2018. Greenaway describes the “Indigenous design perspective” as design which would incorporate and actively connect to the deep history of this land. Through this, he asserts that Indigenous voices should shape our places, and designed experiences, and he wants for this to become a normalised part of design culture. I find this an evocative suggestion, as throughout my research there are distinct differences between “Aboriginal projects” for Aboriginal peoples, and every “other” project. I wonder if every “other” proposed project could ultimately be considered by Traditional Owners, to the same extent which projects are currently presented to Council for approval. An approach such as this would have immeasurable effects on the built environment.

a small jazz improvisation group, we were taught about “deep listening”, which in this context meant allowing others the time to play their ideas, and then letting those ideas influence and inform your own musical response or contribution. I think this process is particularly applicable to what Greenaway references and the same approach of respectfully and curiously allowing space for Indigenous knowledge, is relevant here. This article touches on some worthwhile topics to keep in mind whilst progressing further along the consultation process.

Jefa Greenaway.

Also raised is the issue of non-Indigenous designers, with Greenaway’s response focusing on the value of “cultural design competency”. Again, he infers that it’s not specifically a matter of non-Indigenous designers working on Aboriginal projects, but also the responsibility that architects have generally; to be aware of the history, stories and cultures of the lands on which such projects are positioned. Therefore, perhaps a culturally-focused site analysis should be more commonly undertaken. I do think that the processes and lines of thought which I am considering for this studio and this project, will have hold a heavy influence over my future endeavours, and this is a good thing.

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THE COLOURS OF KALKARINGI Colour can be a particularly useful design tool when connecting a building with its place. Many of the precedents apply local colours to help root the project within its context. Academically-based research I have discussed earlier identifies that the use of muted, natural colour schemes is an important feature for Indigenous Clients. Furthermore, the colours of the Aboriginal flag are endorsed as they inspire a strong feeling of belonging for communities. Colours could be utilised through painting or the selection of materials.

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Karungkarni Art, Photo by A. Roper, 2020.

Kalkaringi, M. Yanez Sainz, 2019.

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LOCAL VEGETATION I am endeavouring to collate a bit of research about the local flora because my design will require landscaping. I would therefore like to be better informed on the types of plants selected for particular locations. This will assist the Family Centre in becoming more approachable for the community, as the flora are familiar everyday things that are intrinsic to the Gurindji culture and history. All information on this page is gathered from the Karungkarni Art website. The Kulunjurru (Ngimpija) tree is used to craft Kawarla and Kartiyi (wooden vessels). The bark is silver-gold and the seed pod is shaped like helicopter propellers. I think this tree would provide a good shade canopy around the Family Centre. I would be worried however about it being felled for wood crafts! Perhaps this problem could be avoided if new trees were continually grown, but they would need to be tended to which is a maintenance problem. Another tree to consider in the Family Centre landscaping is the Kurlartartibush orange, as it is significant in a few ways. Firstly, the ripe fruit has a strong pleasant scent that is detectable a long way from the plant and this seems like a nice outdoor element to add to my design. This tree plays a role in bush medicine through treating scabies, and I think it is relevant to draw a connection between the Centre and promotion of health. The tree is culturally important because it is used to prevent rains and floods. However, much like the Kulunjurru tree, the wood is used as firewood as it lights quickly and easily. This again poses a problem in its viability, unless a continuous cycle of trees were managed. Kilipibush Bananas trees are relatively messy and gnarled in appearance. The fruit, leaves and flowers are edible, with the young fruit found during the wet season. They could be used for privacy screens around the Centre. Kalngibush Tomatoes are commonly depicted by local artists. They are a low shrub-like plant with a small purple flower and the fruit ripens after the wet season. This could be a good â&#x20AC;&#x153;ground coverâ&#x20AC;? small plant option.

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Kilipibush Bananas Tree.

Kalngibush Tomatoes Shrub.

Kulunjurru (Ngimpija) tree.

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When looking through photographs of buildings in Kalkaringi, there are materials and features which pop us as recurring themes. These elements would have been driven by two main factors; climate and budget. Funnily enough, these are possibly the same two factors which will influence the direction which my Family Centre proposal will take. There can therefore be much to learn from these existing buildings.

KALKARINGI BUILDINGS When considering the addition of a new building, I think it is important to investigate the established built style of the area. This is especially critical for reasons surrounding the project context and reason for being. Firstly, Kalkaringi has a relatively low number of buildings which tend to keep to a similar overall style. When designing a new building, this is an important point to not only consider and work around, but also to respond to. A design that doesnâ&#x20AC;&#x2122;t recognise this context is likely to stick out like a sore thumb, which I do not believe would be ideal in this situation. This

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The most popular materials that I noticed are; corrugated metal sheets, concrete blocks, metal columns, timber roof framing and fascias, external concrete floors and security mesh. With regards to materiality, I can see benefits in taking cues from the established schemes, which also seems to be the tact which Bower Studio has previously taken. This abstracted aesthetic of the later 20th century â&#x20AC;&#x153;shoe boxesâ&#x20AC;? has been widely liked by the community. I am intrigued by the idea of taking these mundane budget materials and applying them in fun, contemporary ways. This would help the Family Centre to blend in a bit too.

conclusion is drawn from the need for the Family Centre to afford a level of privacy to its users. And secondly, by looking at the features of these existing buildings I can gain a sense of what the community may be more comfortable with. This is not to say these buildings are liked, but it is what they are familiar with. This assists in directing me towards a design which feels more welcoming and approachable to the people of Kalkaringi. My interpretation of the Family Centre brief indicates that this is a vital consideration.

Kalkaringi, B. Ma, 2019.

Common building characteristics include; regular shapes, gable roofs, deep eaves, minimal windows, and flat or low finished floor levels (evident at indoor-outdoor junctions). I am drawn to the gable roofs with deep eaves combination. I think the simple, familiar roof line could be an interesting gesture to push further, with the eaves working functionally as essential shading. Secondly, the idea of matching the indoor finished floor level flat with the outdoor level would be worth pursuing to both architecturally and practically encourage movement between inside and outside.

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MATERIAL CONSIDERATIONS: SOCIAL It was highly informative to have had a zoom call this week with Jamie. He provided information around the viability of material choices and other things to consider. The driving factors for his advice came down to two elements; social and environmental. There are quirks within the Kalkaringi community which heavily influence the types of materials and technologies to be installed. A point often mentioned is that moving parts will eventually break and they are unlikely to be repaired. The upshot of this is that this portion of the precious project budget amounts to money for nothing, so it is vital to think about the longevity of technologies in this rural context. Even if the technology itself is made to last, we must consider the

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likelihood of tampering. For example, Jamie mentioned that a solar panel system would be ideal for this climate, but realistically rubbish and rocks even larger items tend to be thrown onto roofs which may cause expensive damage to any panels there.

modwood is a viable alternative.

We must also be wary about the use of glass as it is destined to break. For allowing light and views, more durable options are acrylic and polycarbonate materials. In the same vein, Jamie suggests the use of compressed cement sheet over plasterboard for its superior strength and durability.

We also spoke about the role of local labour in construction. The local trade students donâ&#x20AC;&#x2122;t tend to engage in educational workshops without payment. It is a difficult balance to strike in striving to foster local participation whilst allocating funds for the most benefit. In most cases, the focus would be the quality of the finished building, not construction processes. Therefore, Jamie suggests that to specify local construction for materials such as pressed earth bricks is an improbable ideal.

Another aspect to keep in mind regards the use of timber decking. Historically there is a tendency for it to be removed by the community for use as firewood. In this instance,

These are not aspects I have considered before, but going through these thought processes provides useful experience applicable in various other contexts with similar issues.

Pressed earth brick-making machine in Daguragu, J. Neil.

Pressed earth brick wall, J. Neil.

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MATERIAL CONSIDERATIONS: ENVIRONMENTAL The environmental characteristics of Kalkaringi is not something I have previously designed for. In many ways it provides the ultimate conditions to apply environmental strategies I have thus far only learnt about in theory. In particular, passive ventilation is essential here and could be achieved through inclusion of louvres for stack or cross ventilation. Whilst breezes through the building are desirable for temperature control, it is also vital to recognise the issue of dust. Strategies to minimise the movement of dust around the site can include; landscaping with placement of larger plants working to filter the air, as well as designing a ground surface that avoids leaving it as open dirt. Sealed pathways assist in controlling the

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movement of dust inside, by foot. It is also important to consider the role of perforated materials which allow interior air flow yet guard against dust entering the building.

generally the best option for keeping its surface temperature low.

Jamie mentioned the use of thermal mass for another cooling strategy. The cooler, more stable ground temperature could be harnessed by setting a concrete slab into the ground and ensuring it is shaded from the sun. Similarly, pressed earth bricks or rammed earth walls present thermal mass issues of heating, if they are not detailed carefully.

When considering the use of timber, it is imperative to design for termite resistance. This can be done by raising the timber material above the ground level, so that termite mounds can be seen and be destroyed before they make contact. Timber can therefore be used as a finish, or in places very far from the ground, but it is not advisable to design a wholly timber structure. Steel and concrete are much more feasible structural solutions for this condition.

With regards to sun shading, it is important to consider which surfaces may be touched and shade them accordingly. For example, using metal for seating is risky, with timber

One of my classmates asked about the possibility of gabion walls using local aggregate. Jamie confirmed that the right kind of rocks are available on the land, so this could be a good idea.

Minimising dust movement through landscaping, ground covering and building materials.

Termite resistant distance from timber.

Concrete slab thermal mass using stable ground temperature and sun shading.

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08 CONSULTATION Concept Diagram, Consultation 1. Concept Sketch, Consultation 2.

All discussions are considered to be This chapter covers the time frame consultations in one way or another; from preparing for our first official whether they be with our Kalkaringi consultation with Quitaysha, to final mentor and key client, or with design refinements. teachers, peers and guests.

CONSULTATION Sketch Model.

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PRECEDENT STUDIES IN CONSULTATION In class we discussed the benefit of presenting our precedent studies to the community as a consultation technique. The focus of this was to determine some sort of strategy as to how to engage in this consultation effectively. What springs to mind for me is the importance of conveying the information in as simple a way as possible. The precedent presentations we created to share with our peers were full of analyses and ideas intended for people with architectural thought processes and understanding. The content and level of detail should be revised in consideration of our audience, preferably in ways which reduce the “noise” around concepts by focusing in on the main points, by being selective about what is included. We also spoke about what the process of this might look like for us. We wondered whether a Facebook page or similar would be helpful, but our recent learnings from Sand Talk (Yunkaporta, 2019) indicate that people may be reluctant to contribute in a way that is permanent and publicly ties their name to their comment. The prevailing idea was that we should utilise our allocated mentors as key points of contact, with them hopefully sharing our provided material. Theoretically this should work, as we discussed the fact that each mentor has “skin in the game” as a stakeholder, so if we ask them to share around information and discuss it with the community, they would be likely to do so. It’s also important to recognise the power structures of Aboriginal communities such as this, so to go straight to another person would be undercutting the authority of the allocated mentor.

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Further inspired by Yunkaporta (2019), David brought to our attention the value that simple diagrams may have in conveying conceptual ideas. He spoke about showing people from Kalkaringi around Melbourne, describing the NGV as a fort with a mouse hole entrance and the M-Pavilion as an open area on display, using on-the-go ‘hand diagrams’. Here I have revisited a few of my initial precedents and attempted to ‘draw an of the idea of the building’. In doing this, I have discovered that these sorts of diagrams are most helpful when an explanation accompanies the visual; without it they can be highly ambiguous. In some instances this is a good thing, say for idea generation, but perhaps not so good for communication. It may be beneficial to select some supporting words for clarity.

Concept Diagram, Ptunarra.

Concept Diagram, Roebourne.

Concept Diagram, ACT for Kids.

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CONSULTATION #1: PRECEDENTS Concept Diagram, Separation of Spaces.

Concept Diagram, Creating Outdoor Areas.

Concept Diagram, Shaded Pathways.

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For this first consultation round we researched precedents and distilled the concepts into diagrams. The idea of this is to be able to talk about design ideas without tying them necessarily to the precedent project, rather the project demonstrating the concept as an example. Prior to our first official consultation with Quitaysha, we were lucky to have the chance to “test run” our presentations with Phil, which also gave our tutors an opportunity to provide advice. Through this trial presentation we learned some valuable lessons with regards to consultation. We were encouraged to keep the session conversational and to ask for feedback as we went, rather than treating it like a presentation. Furthermore, we were reminded of the importance of demonstrating our understanding of the project thus far, to position our Client initially so that she is engaged and has trust that we have been listening to her. Whilst we had endeavoured to keep the precedents somewhat anonymous to allow the focus to be on the diagrams, we realised through our consult with Phil that it would be beneficial to include plans and label the projects. This is because if we are showing imagery, the Client is highly likely to ask about project information and to exclude this then seems like an oversight in lack of preparation. To help build that trust with the Client, it’s best to be prepared and armed with all the possible material.

Speaking now about Phil’s comments on the precedents; some key ideas about Roebourne were that he thought the shaded walkways would provide great areas for informal gathering. He liked the “nooks and crannies” that were created within the landscaping. With regards to Chigwell, he saw this in-built play solution as ideal because “loose parts don’t tend to work here”, and he wondered about an outdoor version of it. For the ACT project, he thought meandering paths would be a logical response to this brief and thought that the hideaways could become meeting places in themselves.

One of my classmates working on the Culture Centre presented an interesting analysis of materiality by dividing possible finishes into themes; natural, contextual and contemporary. When I was looking at his imagery I was thinking that my design would sit somewhere between natural and contextual, however Phil’s response surprised me. He said that he would suggest the contemporary materials as it reads as a “forward-looking” building for the community. Perhaps it would be less helpful to pick a theme and run with that, than it would be to select materials according to some other self-determined guide.

Materiality, A. MacKinnon, 2020.

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STRONG LEADERS N N E C T E D S PA C E S STRONG CULTURES STRONG FAMILIES

too many. However she did like the idea of perhaps two pavilions as it seemed like a good idea to differentiate between the gendered activities.

the status quo to continue so as to be approachable, whilst also gently advocating for the benefits of dualparenting; something that Quitaysha’s university research investigates.

By considering spreading programs across pavilions, we wanted to know which connections would be Early on in our session, Quitaysha important to maintain. Quitaysha mentioned that she had been H I D D E N S P A C E Sthought that it would be logical to speaking with her mum (T.O. Roslyn 0 3 combine the mums and bubs area Frith) and wanted to remind us that with the women’s centre and kitchen. this Family Centre at its core is about She said that the consult rooms could Pavilions Concept Diagram, S. Rautela, 2020. “strong leaders, strong cultures and be spread out as they would have a Multiple entrances M u l t ifamilies”. p l e C o u r t y a rIdthink s 01 I N T E R C O N N E C T E D wider S PA C E Snot split by gender. strong this is an user Having said this, we also discussed important intention to keep in mind the importance for the centre to throughout the design process. encourage a sense of ownership and be equally welcoming for all. We spoke about the possibility of Quitaysha responded positively to dividing programs across numerous the idea of creating places which pavilions and wondered how many are not divisive, but rather where buildings might be a good number. Quitaysha’s first response was that she the community comes together as parents (not just men or women). It’s would be worried about monitoring a difficult balance to strike, of allowing Pavilions Concept Diagram, S. Rautela, 2020. numerous entry points if there were Creation of a sanctuary

C u r v i n g p a t h s c r e a t e j o u r n e y sM u l t i p l e

Interconnected pavilions

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Next, we asked about the outdoor spaces which exist between pavilions. When speaking about the kind of features which would support her vision for these areas, she spoke strongly about “one big BBQ area which brings everyone together”. This space would have seating at it and Quitaysha said that she likes the seats Bower have previously built; steel frames with timber tops.

entrances

B. Scott, 2020. OOutdoor u t d o o rHide-Away ‘ h i d e - a wDiagram, ays’

Also in terms of outdoor spaces, we discussed the idea of little “hideaways” at more of a child scale, and the possibility of connecting these with the consult rooms. Quitaysha was really inspired by this idea and loved the precedent image. These “hide-aways” have now become an important part of the design. When speaking to the Roebourne project, I pointed out that the shaded areas were really just narrow walkways. I asked about how they might be used and what value there may be in designing larger shaded areas. Quitaysha responded in a sort of polite tone that the narrow walkways “would be put to good use” which indicates to me that they are not really preferable. She did however, keep mentioning the ideas of partial shade and shade sails, suggesting a larger shaded area would be better.

H I D D E N S PA C E S

Sanctuary Concept Diagram, B. Scott, 2020. Creation of a sanctuary Another big topic we touched on was the importance of privacy in this brief. Quitaysha explained that it is a conflicting thing to consider here because on one side, privacy is extremely important as this is a small town where everyone knows everyone’s business. But on the other side, it’s near impossible to keep identities hidden anyway, as even the cars parked there will reveal who’s inside. On this note, she resolved that the consult rooms shouldn’t be isolated. It is more important to Quitaysha that they act as safe, protective spaces for the people inside them - as places of sanctuary.

Multiple Courtyards

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Curving paths

and a slide and swing set outdoors. Through aT bitEmore she 04 IN R A Cprompting, TIVE AR EAS said that she wouldn’t want to steal kids away from the school or crèche. This is an interesting insight into town politics and indicates that we need to I N T E R A C T I V E A R E A S cap the level of play spaces designed.

A CONSULTATION LEARNING CURVE 04

When we found Chigwell Family Centre as a precedent project, we were all so inspired by it. The idea of in-built play equipment sparked thought-provoking conversation as described previously. We were very excited to show Quitaysha, especially after Phil’s positive response. Elevated exploring

Impromptu sketch during Zoom Consultation, D. O’Brien, 2020.

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Surprisingly, Quitaysha’s initial reaction was not so glowing, with her comment “it’s too much”. Whilst thrown off, we were tried to follow up with questions that would aid us in understanding her rationale. Quitaysha expressed her preference for equipment like a soft rubber mat

Elevated exploring

play really is an essential part of this brief but asked about how it may be spread throughout the centre, rather than just one dedicated play zone. We talked about the need for perhaps different levels of play associated with various rooms. A key learning from this experience is not to take answers at face value and if a response is unexpected, use this as a cue to discuss further. Remember, this is the first time they’re seeing this! Built-in play pockets

Play H. Hines, 2020. B u i l t Pockets - i n p l a y pDiagram, ockets

Passive sight lines

As students, we seemed quite happy to leave it there but David was more determined in investigating exactly where that limit sat. It was interesting to observe how David teased out the relevant themes and pushed further on threads of ideas. We discussed that

Chigwell Child & Family Centre, R. Joyce, 2013.

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Passive sight l

SPATIAL PLANNING & FORM CONCEPTS

location, I began thinking that the natural position for it would be the prominent corner location, as the main point of entry to the building.

Practically, we were advised to really separate the male and female bathrooms. We also discussed that the best spot for the car park would possibly be in the north west corner to allow clear frontage to the direction of town and make parking discreet.

We are now starting to make the difficult jump from conceptual ideas to their physical manifestation. I commenced this process through firstly exploring different spatial arrangements of the prescribed programmes. Spatial Planning Bubbles.

Taking the movement flow diagrams I had created when originally looking at the brief, I placed rooms together which would have strong circulation between. This resulted in the creation of one or two pavilions with a central outdoor area between. By playing around with the office

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Having also undertaken site analysis, we all agreed that there was a somewhat direct correlation between positioning and orientation to the south (west) as more public, whilst the north (east) is more private.

In class we talked about spreading out the location of the consulting rooms, where it could be useful to have a more multipurpose consult room with the staff office. Ideally each of the three consult rooms would sit differently on the spectrum of formal to casual space.

I started brainstorming inspiration for the building form. My ideas were about creating a building that is welcoming because it feels familiar and approachable. Through implementing these ideas, I considered the notion of merging the Family Centre within its existing context, whether that be the landscape or peopleâ&#x20AC;&#x2122;s interaction with it, or the existing built environment.

The flat landscape pushing out of the ground to form a building.

Form inspired by the existing building typology.

The concept of sitting under a tree.

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CONCEPT EXPLORATION: HOME

Concept Diagram, Welcoming to All.

The discussions we’ve had with Quitaysha so far have indicated to me that the key aspiration for the Family Centre is to create a place that is welcoming and approachable. This kind of language reminds me of the concept of “home”. After starting to propose possible built manifestations of this theme, now seems like an opportune time to dig deeper into exactly what I mean by “home” and how it can be used as a concept to inform a whole building. Through this diagram (left) I have explored a set of ideas about what makes a home and located them along a spectrum of what can be physically designed, to what is more about a subjective atmosphere or dependent on a personal experience. The items towards the left will be easier to accommodate, whereas the items to the right will require more of a trial and error approach, which I think can be achieved through chats with Quitaysha, my teachers and my peers.

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MODEL-MAKING

I created this model to investigate the functioning of shadows, particularly in relation to reproducing the feeling of sitting in the shade of a tree.

After a few initial attempts at the plan it became clear that we were jumping in to the “serious” stuff too quickly and were already losing touch with the “moments of joy” that we had been researching over the past weeks.

Concept model, tree shade

For example, I had gone straight into placing rooms in relation to each other, but had forgotten about including fun moments of play throughout the scheme. I was also drawing walls as just lines on the page, with no consideration into their materiality and if they were solid or perforated. David requested that we focus on starting with “the vibe” rather than the practicalities. To do this, I explored my design ideas through making some models. I started by making a conceptual model which physically describes the roles (and absence of) walls in different locations. In creating a Family Centre that feels safe, I really think the west wall onto the road (and sun) should be a thick protective wall. This pavilion could then open onto a central outdoor area, where the heart of the building is; a central activity such as the BBQ space. The east pavilion could be much more open, with a (perhaps metaphorically) nonsolid wall facing east. Both buildings are oriented in towards that central space.

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Concept model, the roles of walls

The Tree of Knowledge Memorial, M3 Architecture

Concept model, tree shade

This sparked an interesting conversation about what David called “the Dark Emu part of architecture”, as in defining space without form and considering what you don’t build as a means of architecture too. Whilst this model is quite literal in its tree representation, we discussed how else you can connote a tree. It is useful to consider the key features and extrapolate them. In this case, perhaps the use of dappled like the varying ceiling heights is sufficient to communicate tree characteristics. A project which did this is the Tree of Knowledge Memorial in Barcaldine, where the space between the material becomes the most important design feature.

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This model explores various “moments”, some of which are more successful than others.

Sketch model, fins & eaves.

Sketch model, window seat.

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I enjoyed using these little sketch models as a means to experiment with materiality. I stumbled across the idea of using perforated metal sheet as an eaves roof cover. I like this as a more practical yet also abstracted application of the “sitting under a tree” concept. The shading could become really interesting with a bit of layering. Also with regards to shadow, I am quite fascinated with the effect that the fins create. I was warned about the look of these vertical elements in their reference to prison, but if located thoughtfully I think they are a really interesting design gesture. The depth of the fins helps to obscure site lines and the resulting shadows define the space in lovely ways. I also modeled the idea of a window seat because I was thinking more about the concept of “home” and I personally really enjoy the experience of being in my home’s window seat. The close-up angle affords views along the exterior wall of the building, rather than outwards. This kind of seat can also work to force a particular orientation of the viewer, where one would sit with their back against the vertical plane. This provides a design opportunity for the program happening behind that, to be one which requires more privacy.

Starting with the front door, I have come across this style where the hinge mechanism is offset from the edge of the door. When it is turned open, it has the effect of connecting both spaces and acts visually as a plane extending between them. I really like this gesture at the main entrance of the Centre, as it seems like the plane is reaching out and beckoning you to come inside. The folding out shutters is an idea

Sketch model, moments.

where the wall physically transitions between being closed and opening up. The lower plane could function as a servery table between the kitchen and the outdoors BBQ, establishing another indoor-outdoor link. Also in this model I applied the vertical slats idea but didn’t give them any depth, so the impression is far more closely linked with the prison reference. The deep fins are preferable.

is important to consider. Where level changes are made, there must be a ramp going between the spaces too. In reference to the Chigwell precedent, I think a level change could work well as a sunken play area with the edges used to sit on, where the level change is not a circulation path.

I’ve also investigated the function of defining spaces through level changes rather than walls. This seems to work quite effectively, however accessibility

Sketch model, moments.

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Concept model, thick walls.

Inspired by the in-built play joinery seen in the Chigwell precedent, I explored through this model how a thick wall doesnâ&#x20AC;&#x2122;t necessarily mean an impenetrable wall. A thick wall can have punches through it which can create physical connections as well as just visual ones. In places, a thick wall can even become a thin wall if all that is separating is a sheet that obscures sight lines. Secondly, this model demonstrates how thick walls can be functionally utilised, so theyâ&#x20AC;&#x2122;re not just a big box blacked out from the useable space.

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Concept model, thick walls.

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Based on the findings made through model-making, these vignettes display a first cut at the design moments which I am continuing to investigate. Through drawing them in context, other details start to quite naturally develop a base level of resolution. My research is able to narrow in its focus.

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MATERIALITY STUDIES Through having a clearer idea of what form my design may take, I find that I’m at a stage requiring precedent research at a closer, detailed scale. This is because some material choices will influence how the form may be developed, so I need to consider their physical requirements early in the process. Some elements may prove to be so critical that they have the scheme designed around them. Overall, I wish to develop a naturalcontextual aesthetic through collating materials which are of the environment or pre-exist in town.

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This approach has been inspired by the junction of these styles seen in this photo of a seat detail at the Big Shady. Both materials are hardy, or “bulletproof” as Phil says, but they are comfortingly familiar. By looking at images of the town’s buildings, my material palette is directed quite strongly to focusing on metals, timber and masonry (whether earth-pressed brick or concrete block). I am interested in taking these existing materials and applying them in fresh and different ways.

Big Shady, A. Roper, 2019.

Karungkarni Arts, Bower Website, 2018.

Furthermore, the images selected over the page are not just material examples, but demonstrate how they can create permeable walls which work to allow views outwards but not so much into the building. This kind of privacy screening is becoming an important element of my scheme so it needs to be considered carefully.

Big Shady, A. Roper, 2019.

Aalen University Extension, MGF Architekten, 2006.

Health Education Centre, W. Boase, 2016.

Garma Cultural Knowledge Centre, P. Eve, 2019.

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OUTDOOR SPACES INSPIRATION I am conscious of getting too far in the design of the building and leaving behind the landscaping, which is an important feature of this brief. I have therefore spent some time researching outdoor spaces.

Outdoor Walkway, Lima Arquitectos.

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The first issue I have run up against is that of the walkway throughout the site. For accessibility purposes, I believe it needs to be at ground level and be a consistent surface so that prams and wheelchairs can easily wheel along it. I am keen to design quite a defined walkway, but definition will have to be in materiality rather than a level change. Something more like the concrete paving at the Walumba Elders Centre may be more applicable than the boardwalk image.

Walumba Elders Centre, Peter Bennetts, 2014.

INDOOR-OUTDOOR PERMEABILITY

Following on from Quitaysha and Philâ&#x20AC;&#x2122;s highly positive response to the ACT hideaway spaces, I am looking further into the creation of small kid-friendly pockets off the consulting rooms. What I really like about the ACT example is the way it has been shielded but not separated from the wider outdoors, and the stepping stones features which create fun level change play equipment.

ACT for Kids, P. Bennetts, 2014.

Structural Fins, Sofie Ooms Architecture.

Window Seat, Atelier Ordinaire, 2018.

Aside from semi-permeable screens, there are other devices I am interested in to establish indooroutdoor connection. This image of the repetitive columns gave me the idea of having a consistent structural element, which allows for different wall treatments between.

Marika-Alderton House, R. Blunck, 1994.

Ideas for such treatments could include a window box, which directs views outwards and can be used to block other views behind. The Marika Alderton house provides a great example for open-ability through its folding walls, whether oriented vertically or horizontally.

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INDOOR DETAIL INSPIRATION On this page, I’m considering how various indoor design details may be established. The idea of having two smaller multipurpose rooms which can be opened up into one big space has been in my mind for a while. The Ptunarra

example draws my attention because it allows division of space whilst retaining sight lines throughout the building. If the folding partition wall were not to be totally transparent, I would consider semi-opaque polycarbonate screens for a bit more privacy. I think it’s important to enable connection between the sides. Through precedent research, I discovered this ceiling detail from the Burrinja Cultural Centre. I like how shapes are used on the ceiling as acoustic panels and lighting, which is a more subtle way of including cultural artistic and landscape references. Another major indoor detail of this design is the kid-friendly play pockets, which will ideally be sprinkled out over the whole scheme. This means that different levels of play may exist between the mum’s and bub’s room,

Ptunarra Child & Family Centre, R. Joyce, 2019.

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Burrinja Cultural Community Centre, Gregory Burgess Architects, 2011.

Having done more research on “kiddy” play spaces, I am drawn to the idea of creating a smaller-scale portion through defining using panels, rather than creating actual forms. I can imagine this strategy utilised as a little reading or play corner. There are also budget benefits to this strategy.

and across the various consulting rooms. Looking at the Chigwell builtin play example as a starting point, the elements which I think would suit the group activity rooms are the sunken play space, the shelf (which would have books and toys stored on it) and the climb-ability of the joinery.

Klein Dytham Architecture, 2016

Conference Kredytowa, 2013.

Chigwell Child & Family Centre, R. Joyce, 2013.

inside. However I was reminded of the another example of the kind of clever moments I am aiming to create. It “Dark Emu” architecture and perhaps is simple and small but the kind of this indoor tree would be too literal. feature children would really enjoy I think. Little design features popping up all over the place are what will keep this Centre a fun and engaging place for kids to spend time.

I was also looking into the idea of an indoor tree structure or similar, which I liked as it brought the outdoors

Furthermore it would chew up the budget for something that doesn’t necessarily add a heap of value! It would be more decorative than functional. Another point is that my scheme is skewing towards being quite outdoor-focused, which means the idea of bringing nature inside is probably less effective. I think it would be more beneficial to include cultural decoration on the interior. This laser cut plywood screen is

El Guateque Apartment Storage

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1:20 SCALE PHYSICAL MODEL This week we were asked to make a model of our design so far. Building at this larger scale allowed me to consider more deeply some structural practicalities as well as the opportunity to play with shadow.

1:20 Model.

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Iâ&#x20AC;&#x2122;m really excited by the potential of the shadows which these various techniques have created. In particular the use of perforated steel on the eaves is really intriguing. The effect of the perforated sheet over the windows is great, in that the light source reveals not only the window shape (as expected), but also casts a constellation-like pattern shadow.

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REFLECTION ON CONSULTATION Today David brought up a correlation that consultation is like sign language interpreters. We discussed three points of how interpreters work successfully, which are applicable to consultation. Firstly, interpreters cover the key ideas because these are what are important in communicating the conversation as a whole. Secondly, they work to weave back in those “cut” ideas where applicable, because they are still important to communicate in providing better explanation and context. Finally, interpreters would aim to pre-empt the conversation, so that they can be as prepared as possible. I think this is a really interesting and accurate description of consultation techniques in a nut-shell. I think the “weaving back in ideas” point is key, because we have already experienced the conversation taking an unexpected turn and it is difficult to strike a balance between pursuing the new tangent and keeping the consultation on track. Taking cues from interpreters seems to encourage getting across the key ideas first which allows for those tangents to occur in a helpful way. We spoke about the importance of an open-ended presentation and avoiding the top-down approach involving statements like “I’ve decided this”. For the stage of consultation that we’re at currently, fostering discussions is paramount and we want to really invite opinions from Quitaysha. This means that it is integral to ask questions which are open (not yes-no) and that don’t hide the answer within themselves.

1:20 Model.

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1:20 Model.

Furthermore, having touched base with Quitaysha a few times already, we agreed that it would be important to reinforce our understanding of previous discussions. This helps to show Quitaysha that we have listened to her and are responding to her ideas, which builds her trust in us of executors of her opinions. For this reason it might be good to start this coming consultation with something that reflects our understanding of our previous consultation and validates her contributions. This would ideally set the tone for the remainder of the session, by encouraging her to speak more openly with us because she knows she is being listened to properly.

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CONSULTATION #2: CONCEPT DESIGN The main intention for today was to propose our concept designs to Quitaysha. We collated our work into a cohesive presentation but each section was specific to each individual’s project because we have branched off from each other and have started to pursue differing drivers of design. Each of my classmate’s sections have contributed to my own learnings as Quitaysha’s responses are often applicable to us all. Beginning with Hermione’s project, Quitaysha responded positively to the idea of separating the consult rooms which is a good cue to keep one close to the office for more multi-purpose. She agreed that casual functions like waiting could collide with multi-purpose rooms, meaning a defined waiting room is not so necessary. I think I am steering down the path of providing outdoor undercover seating for waiting, so Quitaysha’s reassurance here was good. In terms of these multipurpose rooms, Quitaysha was envisaging a big central space for dual parenting which allows people to divide themselves up within the space and make their own decisions about how to populate it. She said that whilst tables and chairs should be provided, they should be flexible and be able to be stored away. She also expressed her enjoyment of outdoor play areas, which again reinforces my intention for an emphasis on flow to landscape.

“I want it to be open; for people to come at any time and have a sense of belonging there” - Quitaysha.

Bronte asked a great question about what symbols and colours resonate with Quitaysha, which has given me some really solid direction on ideas for finishes. Quitaysha shared with us the relevance of the Karungkarni hills to the Family Centre, as the hills are a Dreaming place of special spiritual connection for mums and their bubs. Therefore the symbol of the hills is really important. The colours of the hills and the landscape are also really important to include, so green, brown and ochre red (the colour put on women’s tummy’s) should be prevalent. Further, Quitaysha loves footprints as they represent the Walk Off as well as the motif of growing children. We learned through Shalini’s section that the budget should prioritised for the rooms, not the undercover walkways.

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Sketch & Collage Over Model Photograph.

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REMOVING WALLS I began my part of the session by talking about moments which make you feel at home and welcoming. I mentioned the smoking chimney as knowing that inside it would be warm and cozy, and the avenue of trees which draws me in to walk along it. I tried to turn this feeling into a built form through extending a wall out towards you.

Concept Diagram, A Building that Welcomes.

I found it really difficult to draw this concept of a welcoming building and was aware that my communication may be unsuccessful in this way, but Quitaysha’s reaction was unexpected whilst a really helpful expression of her intentions for the centre. She didn’t understand the wall at all and said that the Family Centre is about removing walls; between relationships and to services. I was so glad Quitaysha felt comfortable in communicating her opinion as it a great cue to design to and something which I think my future design decisions could really be informed by. In fact, the function of the walls was already something I was considering from another angle. In creating a feeling of home is fostering a sense of safety or protection. Looking at the plan diagram, I drew thick lines to represent protecting walls and dashed lines for more openability to the outside. Whilst shielding against the west sun and the main road makes sense, it was suggested that I also open up the the north views.

Concept Diagrams, Drawing you in.

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The walls diagram demonstrates different strategies that could be used to either protect or open up walls, where Quitaysha pointed out that she really likes the protecting technique of the timber posts with plants in front of the window. She described that it looks “really friendly” and I think this has something to do with the warmth that timber provides. This is also an interesting response as we have been warned against the jail motif of vertical bars, so perhaps the materiality allows it to surpass that issue if applied thoughtfully. The role of walls changes too, in relation to how the user engages with the outdoors. Through “thick” walls, would provide views outwards, whilst “dashed” walls dissolve somewhat and allow physical movement out into nature. The green patches on the plan diagram show where communal outdoor areas might be located.

Plan Diagram, Thick & Thin Lines.

Concept Diagram, Outdoor Connection.

Concept Diagram, Protecting & Opening Walls.

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INTERIM PRESENTATION

PARKING

WC. M

I was pleased with the content I produced for this presentation. I always find that through drawing vignettes of the spaces, I discover details which need to be resolved! So should keep this strategy of physically drawing out the spaces in mind, because it is important in my process. Having chosen to present this set of images in a hand-drawn style, for the final I shall endeavour to utilise computer programs. Although I like the charm of this style, I feel inhibited by my drawing ability and feel that I can better communicate the finer details through a digital medium.

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Looking at the plan, it is clear the broader landscaping requires attention. My feedback suggested I consider the potential of the south east yard and include designed moments throughout it. I was encouraged to open up the north east aspect by re-organising the corner rooms and by designing the landscape in that area too.

CONS. 2

CONS. 3 GROUP 1 M&B

David suggested moving a consultation pod to the south east yard but I am really against that idea because to me, the north-south axis directly correlates with the level of privacy and feeling of sanctuary. Having consult rooms in the northeast is a core element of my scheme, to allow those rooms to be protected and to orient towards the open land.

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GROUP 3 SHADED

CONS. 1

OFFICE

Interim Plan.

However, I do need to enlarge the consult rooms as they are destination parts of this brief, so need to be celebrated and given priority.

Interim, Consultation Room.

Interim, South Elevation.

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My intention for the central courtyard is to create an outdoor area where the rooms on either side can open up to. It provides both an intermediate space (a place for men and women to come together) but also acts as the heart of this scheme; it is where the main action takes place. This image doesn’t really convey that idea, especially as the walls could be opened up a lot more! I need to research more ideas. I’m happy with the way I have developed the details of the Mums and Bubs room, but now I need to better incorporate these moments of fun throughout the whole building, especially the consultation rooms and the outdoors.

Interim, Central Courtyard.

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Something I didn’t highlight in this presentation, but would plan to for the final, is explaining the environmental strategies included, and how the planning has developed through consideration of constructibility.

Interim, Mums & Bubs.

Interim Section, Entry - Mums & Bubs.

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In the days following the interim presentations, I produced these sketches. I am much happier with the way the central courtyard looks. By adding more doors and much more texture, the space seems a lot more lively and inviting like a market street. Vitally, it much more successfully conveys my intention of opening up the space across the two pavilions and connecting them. It now seems like an area which people would flow out onto. One thing David didnâ&#x20AC;&#x2122;t like was the BBQ typology in the middle, so after discussions I now understand the BBQ to be more of a standard gas appliance than something fire-based.

Updated Sketch, Central Courtyard.

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Corridor showing rhythmic structural elements.

The kitchen corridor perspective is important I think, in communicating the rhythm of the structural fins and beams in breaking up the long space. Each portion between fins would have a different kind of treatment.

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ARUP ENGINEERS This week was good timing for me to have the chance to speak with Jorja and Rachel; our Engineer friends at Arup. I feel that now is a critical time in my understanding of the structure of my project, so that future updates can be made under the guide of structural practicalities. I took them through my updated interim presentation briefly and had produced a suggestion of a structural plan to help convey my initial assumptions. From this structural plan, we spoke about my system being a portal frame and I asked whether it may be preferable to rest beams on load-bearing masonry or have columns set within masonry. The Engineers recommended using steel columns for simplicity of the structural system, but Jamie thought the constructibility of load-bearing masonry would be easier. I think I will go with load-bearing masonry as constructibility is a key consideration of this project. I asked about the use of timber structurally, where I learned that engineered timbers are fire and termite resistant. The warmth of timber in this design is important, so I am interested in using Glulam timber beams over a steel equivalent. The Engineers pointed out that my columns (fins) don’t need to be as chunky as I would like them aesthetically, so perhaps a standard UC would be more appropriate, with cladding used to create the desired dimensions. As a group, we spoke about the practicalities of long members in transport, with Jamie mentioning the length limits for a semi-trailer being around 12 meters. The structural grid I’ve set up is 5 x 6 meters so the longest of my members should not pose any issues for transport. If they did need to be split, as some of my classmates’ elements do, they may require a designed “spice” (bolted) connection. If this is the case, it can be nice to express it rather than hide it. Another point we discussed were draining requirements. With such large volumes of water, we should avoid gutters where possible and instead create some landscaping which can channel to water into desirable streams. When it rains

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in Kalkaringi, apparently there are streams created everywhere which cause significant erosion, so it would be preferable to harness this in a helpful way, and definitely work to the benefit of the building rather than against it. The issue of radiant heat was raised, with Jamie reminding us that we need to consider the distance from metal eaves to the people using the shaded space. Insulation and lining would be useful to reduce heat. Jamie then asked what our strategies would be for managing the heat and how these would tie in with sustainability intentions. The most important element for me is deep shading so the slab can be kept cool as a source of thermal mass. Passive ventilation is also something I’m focusing on, through the placement of openings allowing both stack and cross breezes.

Plan (above) & Structural Plan (below).

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CAR PORT DESIGNS Having reached a good level of detail for the main building, it was time to focus some energy on the car port structures. Whilst in plan they may be viewed as auxiliary sheds, it is important to realise that experientially they sit with the main buildings and occupy a decent amount of space.

I have been considering how these two structures may best work to support and emphasise the overall gesture of the gable roof line. It is logical that the south east structure continues on the same angle (seen in the south elevation) whilst the north west one should be quite different. The strong roof line is directed towards the south aspect, so the west approach (from the Clinic) is really just seen as a few boxes. To counteract this and subtly introduce the main theme from that elevation, this car port features its own smaller gable roof line. Same as the main one however, the apex doesn’t actually have each slope meeting together but instead are slightly offset. The language of these shelters draws from the steel “fins” used elsewhere in the landscaping of the project, and pulls in the concrete blockwork too.

South East Car Port

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Since running through these ideas in class, the deep fins shown in the roof of these structures are not required for sun-shading purposes if the roofing is to be a solid corrugated roof sheet. In class, when talking about these structures, the concept of the “car

North West Car Port

South Elevation

West Elevation

park” chat was raised. There is an opportunity in the overhangs of these shelters, to create some seating areas to encourage those conversations.

South West Corner Approach

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ROOFING DETAILS

After showing David the updated sketch of the central courtyard, he expressed his concern about longevity of the timber beams. They would be exposed to the weather under the perforated sheet. He suggested I substitute the timber beams for steel ones. I really didn’t want to lose the warmth that the timber provides, so I did some research to find a solution as to how to retain the timber. I found some precedents where the timber was tapered back, which suits my initial vision for shaping the ends of the beams.

SEATING DETAILS Eldridge Anderson Architects, 2018.

Lake Flato Architects, 2011.

A4A Architecture, 2014.

Roof Structure Detail.

Gabion Cage with timber seat.

Secondly, I saw this example of a steel section being inserted into the end of the beam as an outrigger. I thought this would be an effective strategy, so I modeled this detail to see its potential result.

I think it works pretty well, although visually the steel member is deeper than it needs to be, so that will be reduced. See final construction details for this in Chapter 09 Proposition.

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After browsing through numerous ideas for seat structures, I decided they can visually blend into the I was more interested in the idea landscape as it would be physically of a solid block base over a more made OF it using local aggregate. lightweight-looking frame, to visually define the seating areas more strongly. Although the boundary fence is a necessity, I am keen on ensuring a I am interested in this example of connection with the wider landscape, using a pre-formed concrete block and fixing a timber top to it. I wouldn’t rather than blocking it off. To establish these links I have decided to place use decking here, but a raw-edge some seats on the top of the gabion timber slab. This would create some wall in a few locations along it. This continuity between the interior means that people are encouraged to joinery features and these exterior access the site from whichever way moments. they may arrive from on foot and can We have also been speaking about the scoot across the top of the gabion wall to join a gathering at one of the requirement for some kind of fencing fire pits. By placing the timber decking around the Family Centre property. on top of the gabion cage, people With the purpose of this fence to won’t need to touch the hot metal mostly keep horses out and small cage at all. This would also be a place children in, they need not be overly to utilise any Modwood offcuts from tall boundaries. I like the concept of the decking, as uniform lengths are creating a gabion wall around the not needed in this instance. north and east perimeters because

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FLOORING DETAILS

With the majority of the central courtyard paved, the sense of pathway through it became diluted. To resolve this, and to create some interest in its appearance, I have decided to introduce some sweeping stripes of a different colour (created by adding more red dirt to the mix). In addition to creating a feeling of movement, these curves also provide a sense of play throughout the circulation paths, enabling them to become features of interest for children too.

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Furthermore, they provide a kind of abstract reference to the contours of the land, the Karungkarni Hills and the organic lines often seen in local artworks. Hapa Collaborative, 2014.

Arquitecta Elisa Ossino 2018.

This gesture seems like it would benefit the interior too and help to create a consistent theme between indoors and outdoors. The contracting colour stripe could be done by polished concrete / terrazzo which would have a sacrificial formwork between the portions with different coloured aggregates.

Kitchen Corridor showing concrete floor stripe.

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09 PROPOSITION Section West-East.

Concept Design

This chapter is dedicated to presenting my final design proposal in more depth than is possible in the seven minute oral presentation. In doing so, I will discuss and make links between final design outcomes and the research that led to them, as was explored in previous chapters.

Ever since our first discussion with Quitaysha, I have understood the key aspiration for this new Family Centre to be a place that is welcoming and approachable and comfortable. Quitaysha has said “I want it to be open; for people to come at any time and have a sense of belonging there”. This kind of language reminds me of the concept of “home”, which has over time become the core driver and rationale for my design decisions. There are three main ideas which my design has been founded on. This building is welcoming to all people, from different walks of life. It strives to be an approachable and comfortable place, regardless of your role (mum, woman, dad, man, child, teen) and whether you are coming for a group activity, an information session, or a more serious meeting.

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In establishing itself as a “second home” for the Kalkaringi community, the Family Centre may be seen as the heart of the town. This heart in itself should have a heart, or a central place where the action is, that brings everyone together. Users of the Centre may be there for differing reasons and in separate rooms, but there is a space in between that everyone can flow out onto. I see this as the BBQ area, of which Quitaysha has spoken enthusiastically about the community potential. Lastly, a home should feels safe whilst being deeply rooted in and connected to place. This idea spurred me on to exploring treatment of walls; whether they be “thick”, “thin” or “dashed” and how a connection to the outdoors can be supported. Protecting walls may visually shield users, whereas others open out onto the land, allowing free movement between. Concept Diagrams: Home.

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To gain a sense of what the community may be more comfortable and familiar with, I investigated the established built style of the town. A key finding of this was the recurring gable roof form. This assisted in directing me towards a design which maximises approachability. Finishes have been selected to create a natural-contextual aesthetic through collating materials and colours which are of the environment or pre-exist in the built town. Materials are hardy whilst comfortingly familiar.

Material Board.

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Site Analysis & Town Plan

The key elements of site analysis which have informed my proposal are views, site access and the wind. Views southward allow people to look towards the town centre, with landscape views to the north. Strong hot wind directions (SE-NW axis) have encouraged positioning of buildings to provide shelter which enables comfortable outdoor activities.

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The Plan To continue speaking a bit about site analysis, the site access has been integral in deciding on this spatial arrangement. The main office space was a natural fit for the prominent corner location, as it allows direct access from the health clinic to the west, and the creche to the south. Car parking has been divided to allow ease of access from the north or east road directions, with the northern park providing a bit more of a discreet parking solution for visitors, should they desire anonymity.

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LIBANANGU ROAD

PLAN 1. Office 2. Kitchen 3. Outdoor BBQ 4. Family Consult Room 5. Mums & Bubs Room 6. Multi-Purpose Activity Room 7. Shaded Outdoor Deck Area 8. Womenâ&#x20AC;&#x2122;s Bathroom 9. Menâ&#x20AC;&#x2122;s Bathroom 10. Fire Pit 11. Car Port

The plan has been divided into two pavilions, a decision resulting from seeing the benefits of this through precedent analysis. In particular, this means the Centre programmes can be properly separated to allow for concurrent activities, whilst also defining outdoor spaces. The placement of the rooms across these two buildings has been done strategically so that the pavilions are two halves of the same whole. One cannot be constructed without the other in terms of programmatic brief requirements, as well as the critical nature of the framed central courtyard. This therefore side-steps any potential issues with regards of project stage funding. For group activities, there are a few spaces to choose from. The Mums and Bubs room is a dedicated space due to its in-built joinery, but the east pavilion has a large open Multi-Purpose Room which can be divided into two smaller spaces. Outdoor activities are also supported by the shaded deck area, central courtyard space, and the two fire pit areas in the north and east. >

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> Division between all these spaces allow multiple activities to occur at the same time, without interrupting each other. The in-built play joinery in the Mums and Bubs room reappears through the Family Consulting Rooms, but to differing levels. This allows the rooms to be selected from according to the formality required of their meeting. Each Family Room also opens out onto a secure break-out outdoor area, allowing more space for play and supporting a more relaxed environment. One Family Room is located with the front office, which facilitates its use as a staff meeting room too. The other two are located in the north east corner, which is the most private and protected place on the site. Throughout the plan, various types of wall treatments are indicated, which will be explained further. These strategies fit into the categories of protecting walls or opening walls, all of which are responding to Quitaysha’s wish for the Family Centre to be about the metaphorical removal of walls.

The primary structure of these buildings is a portal frame comprising standard dimension universal columns and glulam beams. In some places, a load-bearing concrete block wall is preferable due to an absence of fenestrations.

LIBANANGU ROAD

The coloured stripes along the outdoor pathways and interior floors are visible, which enhance a sense of journey and play through the spaces. The coloured circle in the middle of the plan subtly indicates where the heart of the scheme is located, around which a hive of activity takes place. The polished concrete interior flooring was also a decision driven by the passive cooling strategy of harnessing thermal mass. Hence, exposed concrete flooring was optimal in allowing the “coolth” to keep the indoor temperature low. The concrete slab is shaded by deep eaves of more than 1500mm in each direction.

Structural Plan

Landscaping is strategically located below the eaves, and is denser under the low side of the roof to help channel rain in the wet season. Vegetation to be planted is mostly low-lying shrubbery such as bush tomato, spinifex and other desert plants. These shrubs are indicated on the plan with small icons, whereas I intend for there to be some large trees on the site which are shown as the larger canopies. These trees would be a mix of bush orange and bush banana trees, amongst shade-providing eucalypts. 0

Structural Plan.

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The system is placed over a grid of five metres north-south by six metres east-west. Hence, the members would be maximum six metres in length which is manageable for transport considerations.

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Approach

LIBANANGU ROAD

A key feature of the main entry to the Centre is this extending “arm” of the unequal angle “wall” made of ungalvanised steel. This motif originated in the form of a solid wall, but in response to Quitaysha’s comment about removing walls, it now takes the form of a partially removed wall that appears only half there. This motif is repeated around the scheme and functionally works as a privacy screen too. There are other kinds of privacy screens too, which help walls to function as protectively. Seen on the left of the perspective is a perforated ungalvanised steel sheet, laser cut with a story-telling pattern which could be decided and designed by the community. These panels are used to cover over windows, so when inside it is possible to see outwards, but views inwards are prevented. 0

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Plan: Front Office.

Approach from the corner, looking north-east.

4M WHITLAM STREET

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Approach: Shutters are closing.

A third typology of the â&#x20AC;&#x153;protecting wallâ&#x20AC;? seen here is the hit and miss brickwork wall. As per the plan, windows wrap this south-west corner, which is in turn wrapped by a brick skin. Again, views outwards are enabled whilst views inwards are limited. There is also a built-in timber window seat, which encourages people to sit along that wall and look outwards. The protruding wall on the north of the window seat orients users to the south, which means they are facing away from circulation into the nearby Family Room. These operable shutters allow these prominent facades to be open and welcoming when desired, and can be securely closed at other times. Their positions depend on the activities inside and the weather. They are steel framed and braced for durability with door flush bolts for security. The timber cladding is aesthetic only.

Approach: Shutters are open.

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Approach: Shutters are closed.

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Sectional Perspective, looking west: Entry - Office - Kitchen - Mums & Bubs.

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This image provides a different perspective of the entry, office and the protecting walls as previously described. Especially highlighted here is the hit and miss second-skin brickwork wall with the window seat.

Sectional Perspective: Entry - Office - Kitchen.

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The kitchen portion shows the application of local colour through the red ochre kitchen splashback, and a place where a mural could be painted, as designed by the local artists. Shown on the next pages is a feature wall of yellow ochre in the Mums and Bubs room. These colours help to bring the landscape inside, with the use of appropriate colour recognised as a vital consideration (NDSWAâ&#x20AC;&#x2122;s Working with Aboriginal People and Grant et al.â&#x20AC;&#x2122;s Architecture for Aboriginal Children and Families). Local colour schemes and colours of the Aboriginal flag are received well and generate feelings of pride in the community and a sense of belonging in the Centre.

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Kitchen Corridor

Louvres are visible at the top of the inward-facing wall, which allows for passive ventilation; both stack and cross breezes when situated across from another clerestory aperture (as in the group activity rooms).

The main intent for this image is to communicate the rhythmic nature of the structure along the length of the interior, however it does also allow me to explain other design decisions. Following on from the previous point regarding use of colour, the polished concrete floor physically introduces the local aggregate into the space. Similarly, the top-hung sliding door is lined with a cork board on the interior side, which allows posters and photos to be pinned up. My research (NDSWA, and Grant et al.) explained the value of having decor that is personal to the users.

The other kind of opening which enables this passive ventilation is demonstrated in the construction detail here of the hit and miss brickwork (and seen in the following perspective of the Mums and Bubs room). The inner skin doesnâ&#x20AC;&#x2122;t meet the ceiling whilst the outer brick wall continues up. Therefore the perforations of the brickwork create open air-flow; with an insect and dust guard installed.

I have extended the design to the ceiling decoration, with a budget idea of down-lights set along a painted stripe which matches the floor pattern.

The lower part of this detail explains the visually shielding window feature as seen in the front office. This application of hit and miss bricks also occurs in the east-most Family Room.

Construction Detail: Hit & miss second-skin brickwork.

Hit & miss brickwork (earth-pressed bricks or equivalent) Open air-flow hit & miss brickwork (with insect/dust guard) 180 PFC

10mm clear polycarbonate sheet

65 EA 6 galvanised steel window frame Concrete blockwork 30mm gap between skins (creates thermal break)

Brick ties between skins

Kitchen Corridor, looking towards the Mums & Bubs room.

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Construction Detail: Primary structure & roof connection.

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2000mm

As seen in the previous perspective of the kitchen corridor, there is a certain rhythmic nature to the columns and beams. The structural columns are clad in Ecoply to accentuate them as space-defining â&#x20AC;&#x153;finsâ&#x20AC;?, with a different kind of wall treatment happening within each unit (opening, unfolding, sliding). The beams are an engineered timber product which works to complete the warm, soft interior aesthetic aim. On the exterior, these beams taper to the steel t-section outrigger, to ensure longevity of the timber in withstanding the weather conditions. According to my research, durability is a key component in creating an environmentally sustainable building in this context.

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The established Bower material of ungalvanised perforated steel sheet are implemented here in the form of eaves. The panels are to be overlapped randomly which creates dynamic dappled shade, like being under a tree. My research indicates that this is a previously successful and desirable gesture.

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Mums & Bubs Room, looking north-west.

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Sectional Perspective: Mums & Bubs.

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Mums and Bubs This view of the Mums and Bubs room primarily takes in the different types of play which are in-built joinery elements. There is a safe, sunken play pit for young ones to crawl around in, which allows adults to sit along the side for supervision. Older children might enjoy the other side of the room, with the in-built unit that has reading or play nooks underneath, set at 1200mm high with low windows in there too. The climbing steps lead up to an exclusively childscale platform which enables raised sight lines across the room and over the central courtyard. This room therefore successfully provides entertainment for children of all ages up to around 10 years old. There is a 3600mm wide clearance between these built-in elements which allows for group activities to be held in the middle. Any equipment such as tables and chairs or bean bags would be brought around from the storage cupboards as required. If a larger space is required, the group would be allocated to a multipurpose room across the courtyard. The timber fins placed next to the play pit are located as a sort of safety barrier when entering the space from the courtyard. They have taken this form as a regeneration of the half-there-half-not wall language of the unequal angles. The north wall is clad with laser-cut perforated steel panels on the outside, we currently are seeing the interior view of these. The placement of the uniformly-sized narrow windows to undulate vertically in reference to the landscape, which could echo the story portrayed through the laser-cut perforations on the exterior panels. The idea of providing “blank canvases” such as these to be filled with story, has been driven through my learnings from Stanner’s essay The Dreaming, Yunkaporta’s Sand Talk and various films including De Heer’s Ten Canoes. These sources speak to the importance of passing on stories from each generation to the next and that the act of telling that story is integral to personal growth. Having these cues placed throughout the building, whether they be through perforated steel, murals on the walls, or photographs pinned to cork boards, become prompts for story-telling. This is especially important for a Centre that supports children as they grow and as they are supported by their community. Plan: Mums & Bubs.

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Aggregate to fill the gabion cage would be locally sourced to help the site boundary visually blend in.

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25 EA 3 Raw edge timber-top

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25 EA 3 Raw edge timber-top

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Modwood decking

The typical version for this scheme is the pre-formed concrete block with the â&#x20AC;&#x153;live edgeâ&#x20AC;? timber top, to help create a softer more natural finish. The gabion seat type provides a point of connection between the site and its context. Modwood deck planks as off-cuts of the main deck would be ideally. The ends are shown to match up in this elevation, but they would not need to necessarily, and could be random lengths within a 200mm margin.

Gabion Fence with Seat Gabion Fence with Seat Section Section Elevation

Concrete Seat Section

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These outdoor seating typologies exist throughout the landscaped site; whether they be in the central courtyard, positioned around a fire pit, or located at a car port.

Concrete Seat Section

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Construction Detail: Outdoor Seating Typologies.

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Family Rooms

East Family Room, looking north.

This plan portion shows the north east of the scheme, focusing on two of the three Family Rooms. The east-most room is more formal in its furniture arrangement, whereas the north room is furnished with couches and a more involved play area outside. Joinery elements, specifically table tops shown throughout the proposal, would ideally use locally-sourced timber slabs with â&#x20AC;&#x153;live edgesâ&#x20AC;? to more effectively bring a sense of the landscape inside. This is seen in the organic shapes of the Family Room tables. The Family Rooms would be the only spaces in the Centre to be carpeted, which amplifies the comforting effect of having soft furnishings. As seen in this perspective image, I am proposing that carpet patterns could > Plan: Family Rooms.

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> be designed by local artists, or be locally applicable geometric patterns and colours. This would allow the carpet to become another storytelling prompt as well as allowing visitors to feel a sense of belonging in these Family Rooms which may be used for more serious matters.

This image showcases the most developed level of outdoor play which is connected to the most casual Family Room. Without providing toys necessarily, the outdoor sanctuary spaces give preference to physical play involving climbing, jumping and the role of the imagination. The concrete “tree stumps” are flexible as play elements or informal outdoor seating.

deeply considered. River’s TV series Robbie Hood and Sen’s film Toomelah introduced me to the day-to-day security issues which this building must be designed to withstand. Some implemented strategies include the use of 10mm clear polycarbonate sheet rather than glass, and physically protecting these parts of weakness - which in I would push for local artistic input, my case are often physically shielded for elements such as these storyby the metaphorically “protecting” telling moments, in as many ways as gestures. Other elements, including possible. The research I did in creating The perforated brickwork is used in this instance to visually divide outdoor in-built joinery are made to be hardmy group’s mini-documentary spaces. On the north wall (right side) is wearing and internal wall linings are on International Culture Spaces a reappearance of the unequal angle compressed fibre cement sheet rather exemplified the many benefits that fins motif. Each works as a wall that than plasterboard. community involvement in the creation of a building has on its uptake is intentionally only partially intact, yet is just enough to visually shield and longevity. We have discussed this Family Room play space as a in class how it may be difficult for sanctuary from the more public areas. the community to physically build a project like this, but they can definitely Throughout this scheme, the hold a critical role in integrating local important contextual aspects of artworks and stories. security and durability have been North Family Room, looking west.

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Section: West Family Room Sanctuary - Kitchen - Central Courtyard - Multi-Purpose Group Room, looking north.

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Looking at the section drawing, the original gable roof line inspiration becomes evident. The generation of this central area really came from the gesture of these two untouching gable roof line slopes, which provides excitement as to the activity happening between them and below this two meter unshaded gap. My intention for the central courtyard is to create an outdoor area that the rooms on either side can open up and unfold onto. It provides both an intermediate space (a place for men and women to come together) but also acts as the heart of this scheme. This is where the main action takes place and is an area which the community would flow out onto; in places, the walls are able to almost completely disappear. The deck is low (only set at 400mm) which creates an informal seat for people to arrange themselves along as they please. The BBQ in the left of the image is located next to the unfolding kitchen servery. The northern fire pit can be seen in the distance, offering a more defined yet still informal place of gathering. As described earlier, we can see here the perforated steel eaves with the rhythmic structural elements visually breaking the buildings down into friendly, smaller-scaled portions. This is the place that brings everyone together. Users of the Centre may be there for differing reasons and may be based in separate rooms, but there is this space in between that is for everyone. Central Courtyard, looking north.

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10 ONWARD Front Entrance.

Outdoor Play.

SEMESTER REFLECTION The past twelve weeks have been the most unimaginable and uncertain time I have experienced at university. I am proud of myself and my classmates for how determined we have been in not just pushing through this semester, but in our continued dedication to these projects regardless of the confusion surrounding our circumstance. I have truly learnt a lot this semester, in many areas which are applicable to my future in architecture, as a student, but also as a person in the way I view social and political issues. It is a rare thing to have a design studio so

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heavily impact on one’s worldview, and I am grateful that Bower Studio has been able to challenge my preconceived ideas in this way.

GOALS IN REVIEW Despite the huge changes to the functioning of the subject, it is amazing how my initial motivations were still applicable - just through a different framework than was originally expected.

As I reflect on the project I have developed, I realise that I have genuinely enjoyed engaging with this brief and interacting with the people who have influenced it. For years I have said that I want to work in residential architecture because that is where I believed the individual really engages the most with the built form, and where it can have a direct effect on the user at a one-to-one level. However this Family Centre project has caused me to reconsider deeply, because I now see the significance that a building like this can have in a context like Kalkaringi. Therefore, I do believe this project has singlehandedly redefined my personal career trajectory in a completely unexpected, yet pleasing way.

• Improve the lives of people. The core of Bower Studio remains as it always have been, by keeping the focus community at the centre. The design processes and architectural ideas we have explored play an important role in the Family Centre that will eventually come to fruition and I am so pleased to be able to propose some really good ideas to contribute to the project.

Mums & Bubs.

• Get hands-on. Through continually considering the theme of “buildability”, I have been constantly aware

of the hands-on implications of my design, which leads to a more feasible proposal. It has been a good experience to undertake a studio which prioritises these practicalities. • Learn from others. Although what may have been serendipitous conversations in Community became structured video calls, I have really enjoyed hearing and learning from the people who will be engaging with the Family Centre. These conversations (as well as hearing from our tutors wealth of knowledge) have really developed my understanding of the broader Australian context. • Get out there and see Australia. Despite not physically seeing any more of the country, I feel that I have “seen” Kalkaringi and had a glimpse

into what life it like in similar remote Aboriginal communities. In hindsight, it has actually be quite a fascinating occurrence to focus so intently on a place that I have only heard about through the experiences of others. • Enjoy the process. When I first wrote this goal, I acknowledged that sometimes there is no plan, and I challenged myself with relaxing into this. The plan has been entirely hijacked, but with this goal in the back of my mind I have remained relatively focused and motivated. I am grateful for the process which we have been able to experience and for the learnings that have come from this semester.

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RESOURCE RECOMMENDATIONS

FUTURE PLANS

I thought it would be useful to collate here the resources which stick out in my memory as being most influential for my design process, and note those which are in hindsight my favourite. For gaining a historical point of reference, Stanner’s essays were incredibly enlightening and were a really good place to start my research. Following that, Grant’s film “The Australian Dream” and his own book “Talking to my Country” provided a critical window into the current lived experiences of Indigenous people in Australia today. I would highly recommend these as sources to understand the social and political issues at play.

Having never had the chance to actually get to Kalkaringi, many of us feel like we have unfinished business there. The word on the street is that we may travel up there (as an informal group) for the Freedom Day Festival in August 2021.

With regards to architecture, the NDSWA’s “Working with Aboriginal People” guide and Grant et al.’s research paper “Architecture for Aboriginal Children and Families” were hugely beneficial, providing in some ways a checklist for suggested features and advice against things which don’t tend to work. Academic Kim Dovey has some fascinating research papers on the intersection between socio-political issues with architecture and design. I am always a fan of his work and was excited to find that he has spent some time investigating this area. As is the case with every research phase, there is more content to get through than time I had! Some books which I am keen to get my hands on are Archie Roach’s Tell Me Why (because I really enjoyed Grant’s works, and from what I understand they have similar written approaches) and Bruce Pascoe’s Dark Emu (because I feel I could now approach this work with a critical lens, having consumed a broader base of this thematic content). Furthermore, I plan to listen regularly to some great podcasts I came across called “Pretty for an Aboriginal” and “Tiddas 4 Tiddas” which are both hosted by Aboriginal women, discussing current Indigenous issues. There is so much content out there which I am now interested in engaging with, and I am so grateful that this studio has spurred me on to do so! As Grant describes in his book “Talking to my Country”, my role is to listen and learn and share. Going forward, that is what I will strive to do.

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I would absolutely love to visit the town, see the site of the future Family Centre and meet the people who I have heard and read about (or met virtually).

Freedom Day Festival March, N. Zicchino, 2019.

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THANK YOU! Firstly, I would like to extend a huge thank you to the incredible Bower Studio teaching team:

Emma Martin

Hermione Hines

Annabelle Roper

Shalini Rautela

David O’Brien

As friends, they encouraged me to undertake Bower Studio, and as mentors they have willingly shared their Kalkaringi knowledge for the benefit of us all.

I’m so glad we kept communication up as much as we did and appreciate how we utlised each other’s opinions and ideas to better our projects.

George Stavrias James Neil

Their wealth of knowledge and dedication to the projects is inspiring. I Thank you to my classmates, who have remained supportive and appreciate all they have taught me. valuable connections even if through the screen! We were so lucky to have received advice from our brains trust at ARUP A special shout out to the three Engineers: Rachel and Jorja. women whom I have tackled the Family Centre alongside: Thank you very much to the lovely Bronte Scott studio mentors:

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Finally, thank you to my family who have spent far more time with me this semester than I’m sure they bargained on. I always appreciate your ongoing support, cups of tea delivered to my desk (Mum, you’re the real MVP) and the enforced lunchtime daily dose of sunshine (you know who you are). This wild semester wouldn’t have been the same without these wonderful people.

Zoom, with Kalkaringi backgrounds and a wild alien.

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Bower 2020 Sarah Fearn-Wannan