BOWER STUDIO BOOKLET
HERMIONE HINES
CONTENTS
1.0 RESEARCH
7
2.0 DESIGN PREPARATION
73
1.1 INTRODUCTION 1.2 KALKARINGI 1.3 KALKARINGI SOCIO-CULTURAL HISTORY 1.4 KALKARINGI CONTEMPORARY SOCIETY 1.5 CONTEXTUAL TEXTS AND FILMS
9 11 13
2.1 IN-CLASS DOCUMENTARIES 2.2 DESIGN ESQUISSE 1 2.3 INITIAL DISCUSSIONS OF FAMILY CENTRE 2.4 ARUP PRESENTATION 2.5 CONSTRUCTIBILITY/MATERIALS 2.6 FAMILY CENTRE PRECEDENTS/ RESEARCH
75 79 94
15 19
115 125 127
3.0 FINAL DESIGN
149
4.0 EVALUATION
193
3.1 SITE 3.2 CONSULTATION 3.3 CONCEPT 3.4 DEVELOPED DESIGN
151 115 169 175
4.1 CULTURAL LEARNINGS 4.2 PERSONAL 4.3 BIBLIOGRAPHY
195 201 204
Aborigional and Torres Straight Islander readers are advised that this booklet contains images of people who have passed away.
Campfire. Photo taken by Bower student 2019.
1.0 RESEARCH
1.1 INTRODUCTION I have a longstanding enthusiasm and conviction to learn from direct experience of culture and place. I feel that a sensitivity to cultural identity and site context is a vital informant of design process, practice and ways we create meaning. I feel that integral to the design/build process, is the necessity to understand the nature of change for Kalkaringi – bearing in mind the significant cultural practices, architectural typologies, and continuity of what is vital for those whose live there. I am honoured to be a part of this special experience.
Landscape. Photo taken by Annabelle Roper.
1.2 KALKARINGI
Kalkaringi and Daguragu are located approximately 470km southwest of Katherine and 800km southwest of Darwin. Kalkaringi is also known by the old name of Wave Hill because it is the site of the old Wave Hill Welfare Settlement. Permission from traditional owners, through the Central Land Council, is required to visit Daguragu. Most people in Kalkaringi and Daguragu belong to the Gurindji language group.
1.3 KALKARINGI SOCIOCULTURAL HISTORY
INTRODUCTION Jinparrak – Pavilion 1 This is the site of the second Wave Hill Station at Jinparrak. The Walk-Off began in 1966 when Lingiari led over two hundred Gurindji and associated people off Jinparrak (Old Wave Hill Station) in the Northern Territory to protest against poor wages and terrible living and working conditions. It marks the beginning of the land rights movement, and put an end to widespread massacres and atrocious working conditions. Jurnarni – Pavilion 2 This is the second pavilion on the wave hill walk off track where the strikers stopped here to dig for water. Wave Hill was one of the properties owned by Vestey, a British company that was at the time the biggest landholder in Australia, most of which was run as cattle stations. At the time of the walk-off, Wave Hill homestead consisted of at least twenty corrugated-iron-clad
buildings, evident in these pavillions possibly a symbol of triumph over the exploitation they had experienced by Vesteys. Prime minister Gough Whitlam pouring sand into Vincent Lingiari’s hand was a symbolic gesture that was the culmination of the nine-year strike by Gurindji stockmen calling for their land to be handed back to them. Kalkaringi – Pavillion 3 The third pavilion of the walk off track was meant to have been built in Daguragu where the walk ended. However there is ongoing friction between the people of Daguragu and Kalkaringi. Kalkaringi is government owned land, whereas Daguragu is not. Thus Daguragu see Kalkaringi as a white people’s settlement, and their own land as the legitimate place for the people involved in the walk off as well as seeing themselves as the true land owners. Due to this, the government
didn’t want to put money into Dagurgu as a community, because that would have meant giving credence to the strike. This meant that all the resources went to Kalkaringi, also adding to the tension between towns.
APPLICATION I incorporate aspects of the The Walk Off pavilions in my design through the use of perforated screens - the pavilions have sheets of curved corrugated iron and corten steel reflecting the Walk Off Journey as pictured to the right.
Pavillion 3. Photo taken by Annabelle Roper 2019.
1.4 KALKARINGI CONTEMPORARY SOCIETY WARNKURR SOCIAL CLUB
The social club, established in 1998, is a key part of community as it provides a social outlet and a safe space for alcohol consumption. The social problems that can arise due to the inaccessibility of alcohol in communities are serious. Part of the reason why the social club was set up initially was to keep people on country and stop car accidents from people drink driving – in the late 90s, Phil said that two or three people a year were dying on the roads driving 500km from Katherine. We discussed the current issues that could arise in the community as a result of the global pandemic. He told us about how the social club will be shut down and the devastating impact of this, which is that people in the community may drive a long way to find alcohol which could make the health situation worse. This really made me reflect about the importance of thinking through the impact of decisions that are made, that may not seem drastic to outsiders, but drastically change the
circumstances in remote communities. The club is currently owned by the government, and is in the process of coming under community control of Gurindji Corporation. Phil mentioned that since the John Howard intervention, money and profits from the club are distributed into councils offices to spend on services, but that money should be paying for Gurindji projects. This is why they want to get Bower involved to help make it a more welcoming place - a place of pride, heritage and story of Gurindji people. This is integral to consider in my final design as what constitutes a ‘place of pride’ varies instrumentally between cul-tures. One of the issues raised was that it feels like a cage or prison at the moment, and so a more friendly feel is needed. On top of this, it still needs to be secure to prevent break ins as much as possible. Thus, separated from the drinking area,
there needs to be a space next to the building that’s family friendly. They wish for it to continue to be a community enterprise, whereby Gurindji Corporation invests portions of profits to go towards community development projects.
Social Club. Photo taken by Bower student 2019.
1.4 KALKARINGI CONTEMPORARY SOCIETY KARUNGKARNI ART AND CULTURE ABORIGINAL CORPORATION Karungkarni Art and Culture Aboriginal Corporation was established in the old powerhouse building at the entrance to Kalkaringi. Karungkarni Arts is a vital place where people gather to create artworks, screen prints and woodcarvings. It is seen as a place for young people to learn the cultural knowledge, ceremony and history from their elders. It is proudly owned and governed by the artists of Kalkaringi and Daguragu.
APPLICATION The name of the art centre, Karungkarni, refers to the Child Dreaming place for the Gurindji people, a sacred site. It is represented by two rocks on a hill to the south of the art centre, one male child and one female child. I incorporate a version of this story told to us by Taysha into my final design.
Photo taken by previous Bower Student 2019.
I have also included the artwork from Karungkarni arts into my final design which helps to create a space that the people feel personally connected to.
Photo taken by George Stavrias 2019.
Photo taken by previous Bower Student 2019.
1.5 ‘THE AUSTRALIAN DREAM’ DIRECTED BY DANIEL GORDON
“Every time we see the light we are mugged by the darkness of Australian history.” Stan Grant
The racial vilification Goodes endured throughout his life he said provoked for him a sense of “powerlessness [that] becomes crippling”. It is startling to realise that this is not a remnant of racism from a bygone era; these incidents were recent – people unquestionably cannot pardon this behaviour as individuals being ‘less enlightened’ due to the epoch in which they lived. This dismissal was evident when Nicky Winmar didn’t turn up on the footy show and Sam Newman responded in such a sickeningly mocking way, Eddie Maguire simply certified that “he was a product of the times”. Stan Grant, who is extremely
well considered, well informed and pivotal in the debate as a voice of reason, posited that “regardless of what the motive is, you may not like him as a footballer, you may not like the colour of his skin, that’s your prerogative, but if someone says, ‘that hurts me your upsetting me, you’re humiliating me,’ a civilised people stop”. This is the ultimate thread that so many have failed to recognise; the relentless booing directed at Goodes was blatant bullying and systematic emotional abuse, and ultimately incited his early retirement. The placing of injustice, dispossession,
Injustice. Dispossession. Racism. Trauma. Displacement. Poverty. Genocide. Systematic Abuse.
racism, trauma, displacement, poverty, and genocide experienced by Aboriginal people when the English took occupation of Indigenous land has been placed in this documentary within the context of football as a platform for social commentary on a national stage. This proved to ignite fierce upheaval amongst the public who did not want their beloved Aussie game to be perhaps ‘tainted’ by Australia’s unforgiving past. As Goodes’ wife Natalie Croker pointed out that “for him to truly express who he was as an indigenous Australian man and not just play footy like he was ‘supposed to do’, makes people
uncomfortable”, perhaps suggests part of the reason for why he experienced such discrimination in the context of his career.
had mettle to stand up, we reverted back to the casual racism that still pervades our society.
Goodes’ fight to call out racism as it is in the face of negligence shown by majority of the population, made me feel ashamed - we are told by our leaders that we live in the one of the most peaceful, egalitarian and open-minded countries. Yet, Stan Grant’s declaration that “the booing was the echo of the history”, attests to the toxic rose coloured glasses that our nation refuses to remove. Instead of the us uplifting one of the only individuals who
It almost amused me that Andrew Bolt and Eddie Maguire were given exposure time in their interviews, such that possibly without even registering it, they allowed themselves to serve as examples of faces that not only tolerate, but embolden abuse and disenfranchisement of minority groups. It became clear to me that the purpose of this documentary is not only to foster a recognition and acceptance of Australia’s violent history, but to identify those who
have enforced it. This is a powerful and necessary attempt to end the intrinsic denial that Australia must admit. We must condemn perceptions derived from tenuous contrarianism such as Andew Bolt’s theorising that the crowed persistently booing Goodes was “their contribution, it’s not nice but that’s humanity, sometimes it isn’t nice”. I hope that posterity will instead be able to champion a generation that stood up against neglect of basic human rights. I think it is reflective of the ingrained racism in society that because it was a young girl who called him an “ape” it created so much controversy. As Goodes said, “if it had been a white, drunk man” the outcome would have been very different. However Goodes recognised that “racism is not born in us” - she thought it was okay to use that word towards an Aboriginal person because she was taught to believe
so. This education is one that ignores the fact that as Australian history was born out of the idea that Indigenous people are less civilised, when someone says “ape” some like Adam hears “sub-human”. Despite this, after the incident, as Stan Grant said “Adam didn’t condemn the girl and instead offers sympathy – that’s reconciliation” – his message that he wanted to get across was about having an open platform to talk about these issues with a vision to understand how can we move beyond it, as racism has no place in society. Gilbert Mcadam said “it comes back of not understanding the impact of that on people whom the words were directed to”. He also said that “a white person in society can prove themselves, and be accepted, but as a blackfella you have to keep proving yourself, always judged as a blackfella”, it’s unmistakeable that these jokes are in fact digs and the intergenerational sufferings endured – they point at a story of survival.
Sickening racism of Sam Newman on The Footy Show
Adam Goodes
REFLECTION What I have come to realise is that many kinds of remarks are made in everyday conversation that indicate that a lot of us don’t understand where the line of racism is drawn. It’s possible for people who do not consider themselves as racist, to make racist comments out of ignorance and it is this that people are often in denial about. I feel that Goodes’ war-cry is symbolic of the film itself – a resolute refusal to allow willful ignorance to delineate our culture anymore, as it has done in the past. Nicky Winmar
Adam Goodes returning to Country.
Invasion Day Protest
A change of attitude.
1.5 ‘THE DREAMING’ BY WEH STANNER 1953
Stanner discussed understandings of dreaming to a public audience and reach non-Indigenous people who probably at the time this was written, had little understanding or appreciation for Indigenous Culture. Thus before I read it, I knew that in order to understand it, I should try to redefine my own framework of understanding – meaning I should understand the perspective from which Stanner was writing from. His tone in this essay is unassuming, curious and nonbelittling, describing what he sees and feels in an evocative manner. These I fell are all literary elements that may have served to soften what would have been considered seemingly strange content at the time to the audience. For example he does not hesitate in having to specify that it’s not strange to “include part of ‘environment’ in a ‘definition’ of ‘person’” when discussing the concept of “oneness” as part of the Dreaming.
He comes from an unapologetically humanist perspective when he makes remarks such as “I greatly hope that…men… who find inspiration in Aboriginal Australia will use all their gifts of empathy, but avoid banal projection and subjectivism”. I certainly find it shocking after so much research into the systematic abuse of Indigenous Australians, that there was the occasional admirable figure who pushed against a grain that wished to annihilate Indigenous people as a race. He not only acknowledges Indigenous People as human, but engages with the richness of their culture.
I found it interesting that Stanner uses the analogy of a puzzle when attempting to depict how to understand dreaming – that the Aboriginal mind “thinks it makes contact with whatever mystery it is that connects The Dreaming and the Hereand-Now”. Here, I feel there is a sense that he is trying to place dreaming into a logic that can be understood by nonIndigenous people. Further, he uses words that can be translated by a non-Indigenous audience such as ‘logos’, ‘sacred’, heroic’, and ‘eternal’, and although these may not represent Indigenous culture or concepts in a truly “authentic” way - as it is seen
Photo of the landscape in Kalkaringi, taken by a Bower student in 2019.
from their insider perspective – it does allow for some sort of grasp to be made. Some Indigenous words do not even have equivalents in English and many words are polysemous, carrying a number of distinct yet related meanings. Thus Stanner discusses the importance of “‘think[ing] black’…seeking to conceive of things as the blackfellow himself does”. I do agree that our culture has a tendency towards “analytical abstraction” and thus many will never have the mindset to understand that “indigenous ontology cannot illumine minds too much under the influence of humanism, rationalism and science”.
I think it’s wonderful that he tells his readers directly that “our own intellectual history is not an absolute standard by which to judge others” presenting how the colossal difference in the way we think about the world and our existence, does not make us superior. Due to the fact that Stanner does not feel superior to the Indigenous people or culture, he was clearly able to enter a new world of meaning without “the worst of imperialisms…those of preconceptions”. He is able to explain the Indigenous understanding that “one cannot ‘fix’ The Dreaming in time: it was, and is, everywhen” and that “'The Dreaming is…a kind of principle of order transcending everything significant for Aboriginal man”, indicating that he is truly attempting to engage with the scope and significance of the concept of the Dreaming way that is without judgment or malice. One aspect of the reading that reflected a common misconception amongst many white Australians, one that still remains today, is that “they neither dominate their environment nor seek to change it”. This displayed to me how the fallacy that Indigenous People were and have always
been simple hunter gatherer economies is persistent in society, even for those as insightful as Stanner. White Australians simply could not pick up on Indigenous methods of farming and irrigation practices. I wish to also draw comparisons between this essay, and a book that I have dipped into called ‘Deep Time Dreaming’ by Billy Griffiths, whereby he discusses how Stanner described in 1938 the “mass of solid indifference in Australian culture to Indigenous Australia” – a notion which I believe probably prompted his writing of ‘The Dreaming’ essay. This reflects the reality of how White Australia has responded to Indigenous Australia on the whole, a phenomenon which he coined in his 1968 ABC Boyer Lecture Series, “the Great Australian Silence”. It describes the “cult of forgetfulness” under which not only colonialists, but White Australians in the whole of the twentieth century operated.
Stanner verifies the importance of understanding Indigenous people, practice and culture, through its worthiness to be studied in multidisciplinary means. Griffiths describes how in 1961, 6 years after Stanner wrote the dreaming essay, “a group of anthropologists, linguists, archaeologists, ethnomusicologists, historians, and curators gathered to discuss the culture and heritage of the first Australians”. I think that at the heart of this new wave of all-encompassing research, Stanner was trying to point out all along, that “no one who has real knowledge of Aboriginal life can have any doubt that they possess, and use, both abilities very much as we do”. These “abilities” he refers to are the ability to “transcend Oneself” and the ability to try to “‘make sense’ out of human experience” – or in other words, Indigenous people are just as human as any other white person. Griffiths discusses how Stanner also regarded the study of Indigenous Australia to be “an important aspect of our duty to
posterity, and to scientific understanding”. To me, this not only points to the cultural engagement necessary in understanding history of Indigenous people – how they were “out of place in a world in which the Renaissance has triumphed” – but also may help to explain how we have gotten to the dire, oppressive, contemporary situation we have.
Opposite: Photo of the landscape in Kalkaringi, taken by a Bower student in 2019.
REFLECTION Stanner makes genuine efforts to prove that Indigenous people are as much capable of logical thought as white people are, yet never actually tries to convince his readers that the Aborigines were contemporary people in the same way that White people were. Instead, he relishes in how Indigenous way of life is remarkable in its own right, revolving around concepts so palpably different from our own and reflect an “implicit philosophy, but nevertheless a real one�. I feel ultimately that he wishes to display why he holds such great regard for Indigenous People.
1.5 BUILDING CHANGE, ARCHITECTURE, POLITICS AND CULTURAL AGENCY, LINDA FINDLEY ‘BUILDING VISIBILITY: ULURU KATATJUTA CULTURAL CENTRE’ I found it intriguing that although Gregory Burgess was the architect and helped to create the centre, Sonja Peters an Environmental Designer based in Alice Springs was also deeply involved. She had been attending Aboriginal women’s ceremonies and working with the other Pitjantjatjara people. She came to understand how the women of the Anangu people involved in the design process had a clear notion of the types of spaces that should be inhabited. It is this engagement that helps foster idiosyncratic moves in the design of the building, such as the movement of tourists in approaching the centre to be slowed in order to encourage them see the place in deliberate observation. The tendency of people to misinterpret the architecture as ‘primitive’ is missing the fact that the “rough finished, exposed
nail heads and strange intersections of materials”, is not a reflection of the common misinterpretation of Aboriginals’ ‘primitive’ use materials, but also may be also a response to the importance of climate and how design intent must articulate with the elements (such as light, wind, rain and heat), referencing
visual, tactile and auditory cues within the environment. Its clear to me that architecture cannot always amend the ongoing social, cultural and historical issues of White Australian engagement with Indigenous people. Responsibility of the tourist to engage with
REFLECTION
the intentions behind such a structure. The cultural centre is owned and managed by the Anangu people, and the centre may act as a translator to present their culture and Tjukurpa to tourists, while giving them agency to present themselves.
Unhappiness towards the building comes from the fact that is it a failure of cultural exchange - the architecture is one piece of the problem. In many ways the Anangu people felt like the lack of progress from their daily lives had been transferred to the building, thus possibly the building had taken on a greater symbol for the community, and attempted to represent things greater than what a building could deliver. For me this indicated that too much promise in a building can lead to disappointment and one must be wary of that when designing. It also seems that there existed some resentment towards building as the continued issue of land rights had not yet been resolved. Furthermore, function and value comes from the architecture as well as the continued use, there is a risk in overstating the impact of architecture when its really about how people choose to use it .
“The tourist comes here with camera taking pictures all over. What has he got – another photo – take home, keep part of Uluru. He should get another lens – see straight inside...He would see Kuniya living right inside there from the beginning. He might throw the camera away.” – Anangu Elder, quoted by Burgess 1990.
Image of the landscape in the NT taken by Annabelle Roper For me this quote reflects how as white Australians must reconsider history through a different perception, and realise that in many ways Indigenous cultural values have been distorted and misunderstood by Westeners for a long time. The camera clicks turning into a “frenzy”, reflects the obsession that tourists have with what they perceive as ‘icons’ in the landscape. This has prompted me to consider how I will record my own engagements with the community living Kalkaringi when we visit. Perhaps cameras are not always an
appropriate means of record, but drawing may be less intrusive, and perhaps portray my own insights on a deeper level. The reading identifies that The Cultural Centre attempts to emphasise to tourists the way in which the Anangu are deeply ingrained in the landscape that encompasses Uluru. The building reflects their traditional Tjukurpa tale (part of Anangu law), in a metaphoric sense, however many tourists misinterpret this, and read the physical outcome as unsophisticated. I am unsure of how the communication of what is vital for the
Anangu people, and in a broader context each unique Indigenous community, can evolve in a way that Western Cultures understand, while simultaneously not becoming forms of non-Indigenous cultural production for mass consumption. I would like to further my research into this area of questioning.
The climb used to be seen as a ‘right of passage’ for many white Australians, and many of their photographs, taken without their consent, feature the Anangu people who have been considered “savages” and objects of novelty. Even though the control of the park was returned to the Anangu people in 1984, the Uluru Climb was only banned in October 2019. Months before its closure, tourists flocked to Uluru to climb it while they still had the chance. In interviews I watched regarding this, the benign negligence and belief that climbing Uluru is “part of being Australian”. It was even paralleled with climbing Sydney Harbor Bridge. Many tourists in fact have to be given the analogy that the rock is “like a European Cathedral”, in order for them to understand that Uluru is a sacred place to be respected. It gives me some assurance that The Anangu are becoming more visible in the eyes of tourists, many of which now understand Indigenous culture as distinct from White Australian culture and significant in its own right.
Tourists flock to Uluru before climbing ban
PITJANTJATJARA AND YANKUNYTJATJARA LANGUAGE DEFINITIONS
TIMELINE OF LANDRIGHTS AND HANDBACK OF ULURU-KATA TJUTA NATIONAL PARK
MINGA
Ant as a description for tourists who become tiny scurrying specks as they climb Uluru
1976 the Northern Territory Land Rights Act was passed, acknowledging that ties to the land were an essential and continuing force in Aboriginal society.
PIRANPA
Tourists or non-Anangu
ANANGU
Ppeople’ in the Pitjantjatjara language they speak
TJUKURPA
Law/creation period - stories that have formed the moral and ethical structure for life, as a way of being/cultural obligation
PULI
Uluru
Left: Uluru campsite, 1952. Middle: Malya Teamay speaking about the Handback. Right: Handback ceremony, 1985. Retrieved from https://parksaustralia.gov. au/uluru/discover/history/
The Central Land Council lodged a successful land rights claim on behalf of traditional owners in 1979, but the national park was omitted from the claim as it was no longer crown land and so wasn’t eligible.
1985 ownership of the national park returned to Traditional Owners through the Land Rights Act. Anangu leased the land to the Australian National Parks and Wildlife Service for 99 years. The board of management was set up in December 1985 with a majority of Anangu members, and the park continues to be jointly managed by Anangu and Parks Australia.
1.5 ‘GURRUMUL’ DOCUMENTARY
“My name is Gurrumul Yunupingu. I was born in Galiwin’ku. I am a blind Yolnu man. I sing all these songs. I am my ancestors: Marralitja, Barupa, Dhukulul, Ngunbungu. That’s all”
This documentary touched me; the documentary displayed an appreciation and recognition of Indigenous culture as sophisticated, unique and distinct from white Australian culture, as opposed to a being reduced down to a primitive culture of novelty. This documentary was incredible to me because thus far in my research, I have struggled to grapple with how Indigenous culture can in fact be genuinely communicated. Gurrumul makes the old easy for the world to understand. Mark Grose, Gurrumul’s manager, beautifully handled the difficult negotiations of interactions between
cultures and always put the priorities of Gurrumul first. Mark understood that everthing Gurrumul was doing was “anti success’” – no media hype, no promotion without meaning, albums completely in language, his reluctance to do these things is genuine so he had no fear of his career ending. The professional partnership and friendship between Mark and Gurrumul’s helped bring his unique interpretation of the ‘manikay’ (the songlines of his people) to life.
“We used to think Gurrumul wouldn’t go very far, that he would be someone who would never show his independence, we underestimated him, when he performs he expresses his Gumatj identity. He has gone far beyond this community, Gurrumul found his own voice” - Terry Nyambi Yunupingu
Top: Interview on the red carpet Bottom: Gurrumul with Mark’s children
As part of the documentary however, it also really struck me and saddened me how withdrawn Gurrumul seemed in environments such as that of the red carpet and in publicity; places where he was clearly uncomfortable, compared to how enlivened he was with his family and those who he trusts. Interviewers pushing questions that clearly are not provoking a response is unmistakably the way to detach from possible connection - there were numerous examples of this benign indifference throughout the documentary.
REFLECTION This documentary is so important because Gurrumul as a cross-over artist between cultures, and thus the film also crosses back and forth between his Yolngu and the broader whitefella worlds, allowing for people to have an insight into Gurrumul’s Gumatj Clan Nation. Gurrumul sees of success is when what his family recognise what he’s doing is most representative of their culture and music.
Top: The Community of Galiwin’ku on Elcho Island Middle: Erkki Veltheim and the Sydney Symphony Orchestra work with Gurrumul on the album Djarimirri Bottom: Gurrumul walking off stage.
1.5 PODCAST - ‘BLACK AND GREEN: ENVIRONMENTALISTS AND INDIGENOUS AUSTRALIA’ PUBLISHED MAY 2017 THE WHEELER CENTRE TONY BIRCH, KARRINA NOLAN, JON ALTMAN AND EVE VINCENT IN CONVERSATION.
I am interested in the environmental movement that came about in Australia around the 70’s. I learnt so much from this podcast about the natural alliance between Environmentalists and Indigenous Australians, formed under a common agreement: we need to stop ruining the natural environment. What I found so interesting about this podcast was that their discussion teased out the tensions that can sometimes come with this relationship, thus why the visions of ‘greenies’ and ‘blacks’ may diverge at points. However it is also a relationship that results in constructive outcomes
particularly to do with issues of ecology, the environmental and climate change. Anthropologist Eve Vincent, discussed a destructive issue whereby Aboriginal people who are living in remote areas and stand in vocal opposition to government decisions such as mine proposals, are believed to hold these views only as a result of having been ‘manipulated or deceived’ by the ‘greenies’. Essentially, some believe that they are not ‘able’ to be strong political activists or spokespeople in their own right, with their own visions. This is often the case for groups who live
remotely, because they are seen as more “pristine but naïve” and thus succumb ‘more easily’ to the ‘manipulative pressures’ of ‘greenies’. Vincent discussed the reason for why this issue still circulates in society and posited that this view works to “delegitimise Indigenous opposition to mining and supports the current ideological trend that says there is no alternative to incorporation into the neoliberal economy”. But on a more global scale she talked about how it goes back to the deep-rooted issues in our society - that many White Australians cannot accept Indigenous people as legitimate political actors. It is
so disheartening to hear that there are still very real issues of racial vilification occurring and that these perceptions of Indigenous people work to completely silence their voices and political desires. It really goes back to the colonial view ingrained in society of Indigenous Australians, as sub-human and having an innate suspicion when Indigenous Australian’s speak up. I felt further dejected to hear through Jon Altman’s discussion, that Indigenous people are still losing welfare income and struggling to practise their land and resource rights - it’s barely a change from the conditions of the late 70s. Postintervention programs such as the ‘Working on Country program’ for Aboriginals who work as rangers in western Arnhem Land, have regulators who are based in urban environments, and try and hold the rangers accountable in western ways. In response, Altman said that rangers inevitably refigure these neoliberal arrangements to suit their own purposes of use and attachment to Country, such as shooting buffalo on Country to deliver meat to family. It is utterly discriminatory and unjust that they are then under-resourced for not conforming to mainstream ways,
Ranger Jake Weigl sets grass alight in an effort to prevent hotter, more dangerous late-season fires. Retrieved from https://www.abc.net.au/news/2017-09-10/aboriginalrangers-using-fire-to-create-carbon-credits/8742550 when there is immeasurable value in the ‘carbon abatement work' they do. In 2016, across nearly 70 thousand square km of Arnhem Land, Indigenous ranger groups drastically reduced carbon emissions by over 800 000 tonnes. Yet, Altman noted that rangers get paid an unsustainable $10-12 per tonne of carbon, and are on contracts of 10 years which carries huge risk as the cost of carbon continues to increase – a benefit which rangers do not experience. It is upsetting to hear that
the work of Indigenous Conservationists is still under recognised and under paid. I also think that the situation is ironic that in this situation, ‘greenies’ and ‘blacks’ visions align as Indigenous people are working to manage the land in a way that supports its environmental value - yet environmentalists and activists worked so hard for the implementation of these programs whereby rangers are not being economically rewarded as they should.
Karrina Nolan who also spoke, works with ‘Seed Indigenous Youth Climate Network’ which is a group that works towards skilling young people to protect country and help combat climate change. She discussed that aside from educating young Indigenous people, they also strategically engage with environmentalists and activists because these groups rely on each other boost the power of their campaigns. It really struck me when she said “if we want to see an end to climate crisis, we know thet we need to rebuild a system that doesn’t have inequality at its heart”, meaning that people must start listening to those who have lived here for over 60 000 years. Yet one of the struggles is that the environmentalist groups often separate out 'environment’ from ‘Country'. Here the paths may diverge around land rights protection having equal value when set against discussions of climate change. For example, environmentalists may help stop the creating of a coal mine on Country to help with climate change, but often there is no aid in community development projects that relate to or achieve genuine land rights, land justice or native tile. The 'Land rights not mining rights’ statement audaciously fought against
a government that still perceives land rights as an obstruction against the approval of coal mines. ‘The Adani Bill’ essentially allowed the state to extinguish Native Title and make Indigenous people “trespassers on our own country”1 - W&J Council leader Adrian Burragubba. The quote on the opposite page further displays this.2 1 Retrieved from: https://www.theguardian.com/business/2019/aug/31/ queensland-extinguishes-native-title-over-indigenous-land-to-make-way-for-adanicoalmine 2 Retrieved from: https://nt.seedmob.org.au/we_have_to_keep_fighting_for_land_ rights_not_mining_rights
W&J Council leader Adrian Burragubba. Annastacia Palaszczuk’s government extinguished native title over 1,385 hectares of Indigenous land without publicly announcing the decision.
“ABORIGINAL PEOPLE AND TRADITIONAL OWNERS HAVE A VERY IMPORTANT ROLE TO PLAY IN CLIMATE ACTION IN THIS COUNTRY. WE HAVE THE RIGHT TO MAKE DECISIONS ABOUT WHAT HAPPENS ON OUR LAND AND WE TAKE OUR RESPONSIBILITY TO PROTECT COUNTRY SERIOUSLY.” - SEED
I think that the ability for a minority group to ‘negotiate’ with portentously dominant mining companies is undoubtedly unequal, due to the inherent power imbalance at the core of this negotiation, resulting in devastating loss of rights for Indigenous people. Even more disturbingly Nolan spoke of the deceitful system still in place, whereby communities are promised employment from the government for signing up to mining deals, thereby helping the state to increase mining activity. From what I understand, this is inherently complex, because the outcome of mining activity
directly negates customs and values of Traditional Owners and Indigenous People, but simultaneously, these employment opportunities also promise the alleviation of poverty in communities where there are mines in close proximity. Promises that have clearly been broken, evidenced by the endemic poverty that still prevails in many communities. In my view, basic civil rights are not something that should be ‘pledged’ through a fraudulent system that goes against people’s deep rooted beliefs and customs. Altman also posited that Indigenous engagement in mining is left behind once the mine closes. They
have to make a livelihood off land that is often of limited commercial value. It is sickening that the system ultimately forces Indigenous people to choose between protecting Country and having economic development.
REFLECTION Even though the podcast was published three years ago, the issues raised are still ringing true in 2020. Listening to it informed me of the realities of the potential problems and also positives that exist within the relationship between ‘Environmentalists’ and Indigenous Australians. It seems that there times when common interest is integral to bring people together in the face of adversity, and other times where it diverges naturally and without spite - that this sometimes it is just the way the political strategies operate. The true hostility arises when bigger government corporations continue to oppress the very group that knows best how to tackle environmental issues (that are also becoming issues increasingly shared by the broader public), while preserving their basic rights. Why would we not encourage and support Indigenous people who want to manage their lands in a way that’s in the interests of everyone?
Opponents of the mine rally outside parliament house in Brisbane.
1.5 CHAPTER 1 - PORCUPINE OF ‘SAND TALK’ TYSON YUNKAPORTA IDENTITY His writing challenged me to consider the fact that contemporary white society may have a tendency to put stereotypes aspects of culture. Due to factors such as education, young Indigenous people may receive education from sources that aren’t necessarily from their community such that they grow up with warped view of their own culture as he did. He discussed the impact of this as contributing to a lack of self-assurance in his own identity. It took him sacrificing important things in his life such as losing his marriage to feel that he was beginning to re-piece parts of his identity. He had to go back to community to immerse himself in the culture, and formed close bonds with “elders and knowledge keepers…ecosystems…philanthropic groups and songlines”, which he felt was integral to his identity and to understand his position in Australia. He talks about how we he fell between the gap of the 2 groups and felt not fully a part of one group
or fully part of another. The ramifications such as the racism of being only a “touch of tar” with the torment in having a “fantasy of homecoming” are devastating. Yet he also discusses the benefit of being part of two cultures and his ability to be a conduit between the two and possibly help to bridge a gap such that he can share ideas that may “help them [people] come into Aboriginal ways of thinking and knowing, as a frame work for the understandings needed in the co-creation of sustainable systems”.
LANGUAGE AND CROSS CULTURAL INTERACTION From even this first chapter there is a sense that Yunkaporta writes with a clear-eyed sense of his own perspective, imperfections and past failures. He mentions that “what I say will still be subjective and fragmentary of course and five minutes after it is written it will already be out of date. The real knowledge will keep moving in lands and peoples”. I think this speaks to the inherent contradiction with the fact that although he is trying to pass on knowledge, is essen-tially inhibited by the fact that the vessel within which it is being passed is one stagnant in time – a printed book. Yet he mentions that “our knowledge endures because everybody carries a part of it, no matter how fragmentary”, possibly suggesting how the often disconnected nature of the process of passing on knowledge, should not discourage the will to want to do it.
He discusses the fundamentally difficult processes in even writing this book and trying to translate between languages and concepts when he says “we don’t have a word for non-linear in our lan-guages because nobody would consider travelling, thinking or talking in a straight line in the first place”. The fact that speaking in English comes from an Eurocentric point of view, means that our understandings of Indigenous culture is warped in some ways through the translation process. Concepts that are so present in our daily lives and drive much of what we do, such as time, are simply conceived differently. The English language is written in tenses (relating to time) so it makes sense that there are struggles in the fact that he is writing, in English, about Indigenous beliefs that don’t necessarily always rely on knowledge of a ‘timeline’. Instead he talks about structuring the book with allowing himself as a writer and therefore yourself as a reader, to think in terms of think in “free-ranging patterns” of thought, instead of solely believing that “our knowledge is only valued if it is fossilised”.
CULTURAL CROSSOVERS He also pointed out similarities in how Einstein did his thinking in a ‘dream like’ space whereby he was “creating simulations in a Dreaming space to produce proofs and solutions of startling complexity and accuracy”, and thus there are ways in which people are capable of thinking about things in similar ways – we aren’t all different and the translation of information isn’t always a lost cause. He suggests that our knowledge and language that is often tied up in a western religious-like thought processes - “the stories that define our thinking today describe an eternal battle between good and evil springing from an originating act of sin”. Perhaps with Indigenous knowledge, it’s about a continuous dialogue whereby the knowledge changes depending on the relationship of the people who are sharing it - “authentic knowledge processes are easy to verify if you are familiar with that pattern”.
INDIGENOUS VS NON-INDIGENOUS THINKING? We also talked in class about the fact that the following notion can feel confronting – “Indigenous thought is highly contextualised and situated in dynamic relationships with people and landscape, considering many variables at once. NonIndigenous thinking is good at examining things intensively in isolation, but could be enhanced by Indigenous thinking when examining the complex problems the world is facing right now.” We discussed why it might feel challenging a he could be suggesting that there is such a significant difference between Indigenous and nonIndigenous thought, that they may be thought of in binary terms. I feel that perhaps what he is speaking to is that his intention in this book is to introduce a world of thought that may include unconventional points of view and that different ways of thinking can produce innovative solutions that we might otherwise miss. We also talked about the fact that he is possibly referencing the holistic nature of ontology, as opposed to a western way of thinking that tends to segment ideas.
Campfire yarn. Kalkaringi. Photo Taken by Bower student 2019.
AUTHENTICITY He mentions that “the recently imposed ‘authenticity’ requirement of declaring an uninterrupted cultural tradition…is a difficult concession…when the reality is that we are affiliated with multiple groups and also have disrupted affiliations”. When I looked into the ‘Defining Aboriginality in Australia’ document by Dr John GardinerGarden 2002, indeed it says the public authentication of Aboriginality requires proof of a three-part assessment from the Confirmation of Aboriginality document. However from what Yunkaporta is saying, compliance with the definition may not always fit the myriad experiences that Aboriginal people have had to face under colonialisation. The issue of being recognised and accepted “by the community in which he/she lives” (from the definition) for example is indeed a major burden. It seems that for Yunkarporta for example, establishing community connection was somewhat hindered by his experiences and the process of European occupation.
Image of landscape in NT. Photo Taken by Bower student 2019.
REFLECTION I found Tyson Yunkaporta’s approach is thought-provoking as he spoke about many concepts that I wasn’t previously aware of. His discussion of the fact that in order to get information across to western cultures, one has to put it into a language that we understand which compromises it in some way. These are cracks of complexity in cross cultural understanding, and links in with the fact that how we learn to speak through language, changes how one perceives the world. I feel that through his introduction, he wants to get across that how this book presents a world of thought that may include unconventional points of view, and that these different ways of thinking can produce innovative solutions that we might otherwise miss. I feel that much of what is in the book comes from the reader’s knowledge and what their thoughts might bring. Shade Structure built in Kalkaringi by Bower members. Photo taken by Annabelle Roper.
APPLICATION When we think about 'what is indigenous thinking and knowledge', it seems that its about looking back and recognising patterns from the past and learning from them. This is something that we are doing with precedent studies for our various projects in seeing patterns from them and how they may help with design intent and applied into the future. There is also the idea that Bower as a studio, conducts other smaller projects with Kalkaringi, for example, the extension of the arts centre and the walk off Pavilions, so that together there can be created a winding path of conversation that allows us to build connections and knowledge, that then allows us to work with and deliver the larger projects down the track.
1.5 TERRA NULLIUS AND THE NATIVE TITLE ACT
It was very important for me to conduct some initial research into the Native Title Act because after reading the first chapter of ‘Sand Talk’ by Tyson Yunkaporta, I was particularly shaken by his mention that “the recently imposed ‘authenticity’ requirement of declaring an uninterrupted cultural tradition…is a difficult concession…when the reality is that we are affiliated with multiple groups and also have disrupted affiliations”. For me this statement brought up the requirement, or we might call it an inherent flaw, in the Native Title Act that also necessitates a similar proof of ‘authenticity’, before allowing traditional owners to claim their native title. It all began with Terra Nullius, which literally translates in Latin to ‘land belonging to no one’. British occupation and subsequent land laws in Australia were passed under the prerogative that Australia was terra nullius. This assumes
a complete denial that Indigenous people lived on this continent, and an inference that the land was vacant prior to and upon colonial settlement. This even ties in with the wilderness discourse that was perpetuated as recently as the 90s, whereby people perpetuated images of a pristine and untouched land, whereby nature was “unpeopled”,1 akin to terra nullius. Many discussions about wilderness reflected a romantic white people’s fantasy to make invisible “Aboriginal people and their presence on the land”.2 In 1982, Eddie Mabo began a legal claim for ownership of their traditional lands 1 Posthumanist and New Materialist Methodologies, By Claudia DiazDiaz 2 Posthumanist and New Materialist Methodologies, By Claudia DiazDiaz
The Mabo Case in The High Court.
on the Island of Mer in the Toores Strait.3 The court cases finally ceased in 1992, and the High Court confirmed that the Meriam people were entitled to possession and occupation of their land. The Native Title Act (NTA) that was conceived from the Mabo Case has since contributed to a significant shift to the way in which the rights of Indigenous Australians are perceived. The NTA has enabled the empowerment of traditional owners by giving them the support of legislation4 such that their rights to traditional lands are now recognised by the Australian legal system. Recently, the Timber Creek compensation 3 https://australianstogether.org. au/discover/australian-history/mabonative-title/ 4 Graeme Neate, ‘Indigenous Land Rights and Native Title in Queensland: A Decade in Review’, (Conference Paper, International Law Association, 22 August 2001).
The Founding of Australia. By Capt. Arthur Phillip R.N. Sydney Cove, Jan. 26th 1788. Oil sketch, 1939.
case postulated for the first time, that traditional owners should be compensated for in both “economic” and “spiritual” loss of connection to country caused by “extinguishment”,5 which is a step in the right direction towards development and bettering of the NTA. Despite this, the NTA also has limitations that weaken its potential to give power to Indigenous people over their land rights. For example, there is the burden of ‘proof requirement’ for claimants who are trying to evidence their connection to traditional customs and land. This ‘proof requirement’ is unfair, due to the fact that many indigenous groups were forcibly dispossessed by European colonialisation, thus the ability to prove ongoing connection to land and “traditional laws and customs”6 can be very difficult. For example, the need to prove customs derived from “normative rules of…communities that existed before the assertion of sovereignty by the British crown”,7 disregards modern 5 https://aiatsis.gov.au/explore/ articles/timber-creek-compensation-case 6 Native Title Act 1993 (Cth) (‘NTA’). https://www.legislation.gov.au/Details/ C2017C00178 7 https://www.alrc.gov.au/
indigenous translations of ancestral rights and contemporary forms of tradition.8 This demonstrates a significant inability of Aboriginal people to assert their rights over their land. The other part of The Native Title Act that is flawed, is that many of the claimants who wish to have their native title recognised must demonstrate a continual practising of customs, even when they have been displaced from these lands.9 I imagine that because of this, it may be traumatic for many Indigenous people to attempt to claim their native title.
publication/connection-to-countryreview-of-the-native-title-act-1993-cthalrc-report-126/4-defining-native-title-2/ establishing-native-title-rights-andinterests-2/ 8 Human Rights and Equal Opportunity Commission, Native Title Report 2000 (2000) (‘Native Title Report’). 9 Human Rights and Equal Opportunity Commission, Native Title Report 2000 (2000) (‘Native Title Report’).
REFLECTION These issues are indicators of a government creating a system that functions on their own terms and in many ways still burdens those for whom the Act is meant for. Thus the ability to provide reasonable compensation to indigenous claimants is undermined by these intrinsic faults in the system. There is clearly a need to ameliorate the Native Title Act in the enduring pursuit to deliver tangible rights and acknowledgment to traditional owners.
Australia’s Land Rights: The Mabo Decision and Native Title.
Upon reflection, it seems that parts of the NTA are narrow interpretation of culture, as those who are writing these laws seemingly desire to please non-Indigenous decision makers, while ostensibly attend to the interests of Indigenous Australians.
1.5 DARK EMU BRUCE PASCOE
Image of landscape around Kalkaringi, taken by Jamie Niel.
Dark emu is an immense body of information based on journals from people when they were settling new land. These archives are easy to access but been have ignored. The book discusses the desperate need to reconsider what we know from first accounts of settlers. He discusses how the narrative in schools seems to reinforce the dispossession experienced, and its devastating that it starts when people are so young. It must be a very difficult position, to have to learn someone else’s culture when one is not even being taught one’s own. To be so young and to be told by authorities that to be educated is contrary to what ‘I’ believe and ‘my’ culture, must be an incredibly challenging force to grapple with. From a personal experience, most of us in this class only remember being taught about Captain Cook and how the colonial settlers were the ones who ‘first discovered’ Australia. This was only 10 years ago, and yet Australian is still in many ways, not acknowledging the truth of the country’s history or teaching it to next generations of people who can be the ones to change attitudes and minds.
REFLECTION There is an ongoing theme that has become evident that during colonisation, Europeans tended to measure their intelligence by the complexity of their tools on face value, but not necessarily how they are used. In Dark Emu, Pascoe’s noting of the evident land management techniques conducted by Indigenous Australians that were integral to their survival. The Europeans put a simplification over these processes due to the fact that they couldn’t figure out how to simplify them in a way they understood. But, this simplification process removed the complexity that’s inherent in Aboriginal ideas. People impart what they believe are good living conditions - the term desert basically just means you cant grow wheat or rice so we associate fundamentally as it being harsh, but that’s what we, as white people, are bringing to the picture. Bruce Pascoe’s map of how the indigenous grains or grain types were grown so much further north than what we expected! The two lines on the map are indicative of the aboriginal grain belt which passes through the middle of NT and it seems like theres an idealized Indigenous Australia in that you can imagine what we would consider the desert covered in grains but the book points out when colonial explorers were dying in places where there was a surplus of food. Thus the meaning of ‘desert’ is subjective - conditions of life are subjective - we bring a value judgment in, that’s so alien and unfamiliar to us that we can’t help but feel its difficult. Bruce Pascoe’s map of grain belts.
REFLECTION CONTINUED Having nearly finished the semester, Jamie told us that when he had tour of the massacre site in Kalkaringi, where you drive through it’s an arid dust bowl of land where nothing grows, yet pre-cattle that was where the waterhole was, the river ran though, reeds and biodiversity of ducks, lizards and snakes, and food sources were there - it’s the cattle that’s turned vast tracks of Australia into arid land. Its killed all of the indigenous plants. It’s the desert but not necessarily the desert that indigenous people lived in back then. Australian’s impact on environment has been so detrimental that I can’t help but think that no one has really honed into just how much damage we have made on the environment given the vastness of Australia and inhospitable land that we have now just so that we can put meat on the plate. Jamie also noted that it is undeniably animal agriculture that degrades the land. He said that when you’re around Kalkaringi you can see how degraded the earth is where cattle have been. On the other hand that’s a way to have economic opportunity whilst still being on country. So how could someone say don’t farm cattle anymore? What are other ways that remote communities could generate economic benefits while being on country? When you drive out of Kalkringi and head towards Neame and go through what is state park, the biodiversity changes exactly on the line Jamie said, between cattle grazing land through into areas where there’s no cattle. We discussed how if you got rid of the cattle the ground and erosion would decrease and the land could be used in a different way farmed with a different form of protein like kangaroo meant, with the land being rotated more frequency/ Australian wheat crops that are indigenous grow well in that environment, but cattle is not the answer for the future.
Image of landscape around Kalkaringi, taken by Jamie Niel.
1.5 THE INTERVENTION
THE INTERVENTION BACKGROUND The film is a profound insight into the aftermath of the 2007 Intervention implemented by the Federal Government led by John Howard and Mal Brough. The package was the government’s response to the Territory government’s publication of the Little Children are Sacred report, and was meant to address allegations of child sexual abuse and neglect in the Northern Territory. Yet the intervention was in fact crafted on a vicious lie that swept over all Indigenous people, based in persistent propaganda and sensationalist reporting.1 It involved the implementation of changes to welfare provision, law enforcement, compulsary land lease, and other measures in Indigenous communities in the Northern Territory. Benefits and pensions were taken away. Rates of self-harm and suicide increased dramatically.2 The government also suspended ‘The Racial Discrimination’ act, which points at further warning signs that this was not an intervention with the best intentions of Indigenous people at heart. 1 Utopia, directed by John Pilgner (Australia, 2013), Film. 2 Utopia
Furthermore it only implemented 2 of the 97 recommendations in the Little Children are Sacred report3, and was passed with minimal consultation of Aboriginal communities who were being affected by the changes. Instead, uniformed members of the Australian Defence occupied communities to send a message of ultimate power and hostility to them. Since its release, the act has been replaced by a similar Stronger Futures Policy, which has continued under the Liberal Government. The intervention ultimately sought to stigmatise communities through attempting to associate them with dysfunction and child abuse. The UN special rapporteur on human rights James Anaya wrote that the intervention was a “racially discriminatory treatment of indigenous individuals”.4 The Intervention merely reinforced 3 April Long and Kristyn Glanville, “30 Years in Review: Indigenous Law Bulletin 1881-2011” (Indigenous Law Bulletin). 4 James Anaya, United Nations Special Rapporteur on the situation of human rights and fundamental freedoms of indigenous people
damaging generational patterns already created by previous policy approaches towards Indigenous Australians, let alone denied people basic control over their own lives and human rights. The psychological damage caused by the corrective nature of measures taken is evident in the film.
1.5 ‘BLOWBACK’ DAVID HANSEN 2009
This satirical ‘mockumentry’ imagines reversed scenario in which the measures of the Intervention have been imposed upon non-Indigenous Australians by Indigenous Australians. A group of Indigenous leaders from the Northern Territory decide that the incidence of child abuse in ‘white Australia’ is too high so they send in a militarised task force to Kings Cross to intervene.
‘empowerment’ given by white Australians to Indigenous people as if they don’t know how to look after themselves. It really speaks to the top down approach the government takes whereby White Australian’s feel as if they are doing some great favor to Indigenous people by allowing them to have some empowerment over their situation.
It’s incredible how foreign so many of the phrases sounded, purely because we always hear them in the context of discussions around Indigenous people as opposed to white people – “to ensure the kids were being cared for, white suburbs were seized”.
The mockumentry comments on how the Howard government essentially brought about a new ‘paternal policy’, or guardianship, whereby Indigenous difference is understood as a discrepancy which must be reformed.
“The Kings Cross health centre is by Sydney standards hygienic and health workers have worked long and hard to establish trust with the local parents” – the way in which the narrator talks gives a sense at the condescending nature of
“And while this could have been a stunt imposed by a distant unsympathetic leader desperate to get re-elected, the intervention in no way made the assumption that white Australians didn’t know how to raise their own children”. This quote towards the end of the mockumentry,
while brimming with sarcasm, reflects the reality of how government control is so far removed from Indigenous communities, while constantly believing they are conducting correct measures.
Screenshot from documentary displaying how “The indigenous people of Australia took control of 36 white communities across Sydney”.
REFLECTION All of the measures taken seem ridiculous when the situation is reversed, yet why aren’t more people seeing the current situation in this light? I like how the mockumentary points out that certain Australian laws only applying to people of a particular race and singling them out is fraudulent and prejudiced. I also really lied how the ‘mockumentary’ very cleverly brings to light how the coercive measures that would have been completely inconceivable in non-Indigenous communities, acted to remove indigenous peoples dignity.
“Kings Cross is a hotspot for major crime, drugs and sex in white Australia”
“Kings Cross is a hotspot for major crime, drugs and sex in white Australia”
1.5 CHARLIE’S COUNTRY WRITTEN BY ROLF DE HEER AND DAVID GULPILIL
LIFE UNDER THE INTERVENTION The way in which Charlie tries to live his life in the face of extensive measures and inexplicable contradictions under the intervention, leads to him being repeatedly shut down by local police who enforce a lifestyle that contradicts his values. When Charlie goes to the police station to ask the community manager for a house because his allocated one is overcrowded, the reply is the “government has already given you one good house, you want to walk away from that that’s your problem”. Charlie asks “But Errol, you’ve got a house and a job, on my land. Where is my house and my job?”. The hopelessness and injustice is palpable. The managing of Centrelink payments is another issue brought to light early on in the film. Charlie receives his pension money, yet ends up giving most of it away, as it is clear that his belief system and cultural obligations involve providing for kin as priority. The film also displays how police
exploit Charlie, as they use him in thinking that he is able to track the men trafficking drugs. Although we see Charlie’s spirited response as he delights in pretending he can track them (even though he was the one that pointed them to a safe camp), this scene ultimately depicts the broader issues of exotifying Indigenous culture, and displays the mistreatment that can occur between interactions. There are many moments throughout the film where Charlie is defeated and demoralised by the police containing of his way of life, and ultimately demonstrates why selfdetermination is out of reach for many.
HEALTH The film also displays how health issues are prevalent and arduous; Charlie’s starving body, and his frustration and disgust towards the poor quality fast food in the shop, reveal that many people in Indigenous communities are malnourished. The council does not subsidise fresh fruit and vegetables, and instead provides food that leads to ongoing health problems. Charlie’s efforts to go hunting and provide good quality buffalo meat for his community, are hindered by local police. Charlie attempts to live in the bush, consuming food he has found and caught
with relish, nourishing his body and soul. It was distressing to watch the progression from his newfound freedom in his unequivocal effort to reconnect with his traditional way of life, to the portrayall of his impossibility of success and survival in living in the bush alone as an older man. These scenes of suffering and sickness neither idealise or romanticise images of precolonial Indigenous life. The series of uplifting scenes of him living in the bush juxtaposed against him on the streets of Darwin is also very difficult to watch. The scene where Charlie is in the
hospital with the sick man who is dying of kidney failure, portrays the moment whereby his hopelessness is unbearable. Charlie’s mention earlier on in the film that this man will “die in the wrong place, a long way from your country” comes to light here and we see how his spirit is broken. After all the torment and neglect he has experienced, it’s no wonder falls into a destructive pattern of alcoholism, breaking cultural law by associating with a woman of “wrong skin”, and subsequently ending up in prison. I also found it difficult to watch the scene where Charlie’s head
and facial hair are shaved as part of the dehumanising process in prison. Even though Indigenous people represent only 3% of Australia’s total population, more than 28% of Australia’s prison population are Aboriginal. This is the case even though drivers of crime and incarceration are often at their roots, provoked by non-indigenous tampering to begin with, as dispalyed in the film. In this film it seems that the police believe that there is no other alternative but prison for Indigenous people who they deem rampant and disorderly - also reflection the harsh reality of real life. It is truly a national shame.
REFLECTION In this film the viewer sees over time how choices are made for Charlie over and over again by those deemed more powerful. The racist remarks he endures, are a part of his life and his interactions with non-Indigenous people which is so upsetting to see. As a viewer we see the ongoing hardship that accumulates over a lifetime; ultimately shattering him. There are many moments throughout the film where Charlie is defeated and demoralised by the police containing of his way of life, and ultimately demonstrates why self-determination is out of reach for many.
As a film it’s wonderful because it’s accessible to all – it’s not a documentary with complex political conversation that’s difficult to follow, and yet is multifaceted and reflects the realities for many of Indigenous community life after the Intervention was put in place. I think that films like this seek to rupture and shake the public’s vision of Australia. The distress that films such as this depict – distress that is real and continuous in present day society, yet seems to be invisible to so many – is integral to its impact and exposure of the truth about Australia. This film is a catalyst for thought about the timeworn debates regarding Australian national identity, and ultimately identifies the desperate need for Australians to acknowledge that our national identity needs to be completely redefined.
1.5 ‘BALANDA AND THE BARK CANOES’ DIRECTED BY ROLF DE HEER AND PETER DJIGIRR FILM MAKING PROCESS This documentary, as the companion film to ‘Ten Canoes’, really helped me to understand it’s impact for both Balanda (white people) and for the people of Ramingining and Murwangi in Central Arnhem Land. The film observes the film making process of ‘10 Canoes’, working from the photographs taken in the 1930s by anthropologist Donald Thompson. These photos are of great significance for the Yolngu people, as they link to the old ways. A man called Dawu tells the story about the Murwangi area where much of the filming occurred, and says “my ancestors lived their tradition here, they used to sit on this Arafura land, with the law and no clothes, they lived as one mob. They used to get bush tucker, wild honey, meats and water. We lost all that tradition. We forgot it. Our old people took it with them when they died. But now Rolf and his group came here and opened our minds, he showed us
the photos and we decided to make this film for our future...this is our memory for our people. So we stood up”. This quote really struck me because I feel that it not only points to the mutual respect between people involved, but that the ultimate motivation behind the project was for the Yolngu people to participate in what is vital for them. It seems that as the director Rolf takes cultural difference and the occasional misunderstanding in his stride, and appreciates free-for-all dialogue whereby every individual is valued and heard. In the film I noticed he establishes with the actors who their characters are on a surface level (such as their names and their relationships to one another), but he does not necessarily give them a script and lets them be themselves and interact in a natural way.
IMPORTANCE OF GENUINE CONSULTATION Certainly there were times when Rolf’s explanations to the actors become lost in translation. This usually meant another series of takes, which sometimes resulted in frustration and confusion, as numerous takes were often interpreted as failure for the actors. Thus the concept of rehearsals “have the opposite of the intended effect”, as there tended to be a loss of authenticity with each take. Rolf admits that more explanation is required, though he is “never sure I express it so that it can be understood”. It seems that these are learning curves for Rolf more than anyone else that he must shape his practice around, and is merely a part of the complexity of the consultation process. I found it interesting to see how these differences in cultural understandings were worked through. Rolf talks about the inherent differences in understanding of the world between cultures and how these
manifest through the film making process. He says “the cosmology of the Yolngu people is entirely different from ours – the universe is a different place and the ways of thinking are different…There is no notion of fiction in their cosmology, and telling a story out of order as we were having to do in making the film, makes no sense”. He thus brings the light the need to keep retelling the story of the film to the actors, yet he struggles to know what is being understood from these talks. It certainly presents a challenge that the film making process sometimes goes against the ways of thinking for the actual people cast in the film, and to manage this means integrating their ways instead of imposing his own. However this isn’t always easy and requires a deep mutual respect and understanding of what the notion of ‘authentic’ for the people really means. It was fascinating to watch a part of the film
when Rolf describes how the oldest of the men involved and the natural leader of the group of actors, is in fact not from a swamp tribe. This meant that he initially began to lead the construction of a different style of canoe, instead of one that is unique to the Arafura swamp, whereby the prow should be made to cut easily through the thick reeds. Rolf admits that to “interfere seems outrageous, but I know I have no choice” as he understands the canoes shown on film must be authentic in their design. The way he progresses is by showing the men images that Thompson took of the swamp canoes and how they were constructed
– he doesn’t just tell the men that they are wrong in their approach. Although his intervention may have felt strange because as an outsider it may feel inappropriate to comment on another’s practice, yet in displaying to them his respect for their culture through his want to present it in the most genuinely authentic way possible, the men appreciated this more and he was “considered to have the wisdom of an elder”.
KINSHIP The film evolved upon the belief that “any story worth telling is by definition a real story, thus the characters in such a story can only be played by appropriate people along correct kinship lines”. This was an aspect that was out of Rolf’s hands, as kinship laws are so “complex and impenetrable”, thus the cast was selected by the community. One of the key actors in the film, Mingululu, begins to struggle on levels Rolf cannot understand at first, and leaves mid shoot. The others later describe to Rolf that the problem is related to the fact that the women acting in the film, do not fulfil the proper kinship requirements of the people to be able to play Mingululu’s wives. These real world constraints of the need to comply with cultural kinship systems by ensuring that the characters in the film are either married in real life or that kinship laws would allow such a marriage at least, are thus imposed
on the story which in turn is shaped by real culture and tradition. Even towards the end of filming there was more to be learnt; Bobby was not happy with the fact that spectators from the communities in the surrounding area came to watch. He refuses to act as “it’s not right we take out clothes off with women here, when they’re not in the film”. It is so important for those involved in a project to feel safe enough that they can vocalise what they are comfortable and uncomfortable with.
INTENTION BEHIND PROJECTS The intention for why the film was made, was so that the Indigenous people involved could respect and remember their ancestors, as well as having the platform to “gain respect from Balanda” (white) culture, and also “for the future for our kids as a way of preserving and passing on knowledge.” In the final scenes of this film, there is a suggestion of just how powerful and reinvigorating the film making process was for the Yolngu people in the rediscovering some of their old ways together – it was clear that the people felt value in what they had just participated in
compared with how they feel in the town of Ramingining and its current state. A man called Bobby says “it’s boring in town”, and another man called Pascoe replies “when you come back from the bush, people have no respect”. It must be challenging to feel so emboldened in one’s culture, to then return home to see how it has drastically changed and how it is slowly being lost. Yet it is projects such as this that help people remind themselves that not all is lost. Rolf describes the feeling of having a “deeper understanding, not only of this culture, but of all cultures, including our
own - the crew members, set makers and actors…brought back from a far-away place some of their culture. They now walk a little bit taller among us balanda, a bit more sure of themselves. They speak with more confidence than they did before. They seem to feel better about their world. In strengthening their culture they have also strengthened themselves. It’s a lesson to us all.”
REFLECTION I think this documentary is just as important to watch as 10 Canoes, as it allows people an intimate glimpse into the headspaces of the cast members who reveal how they re-enlivened aspects of their traditional culture in a modern era, in the production of this film. Rolf “marvels at how quickly the men become their forefathers” – this really confirms how vital it is for the people of Ramingining and Murwangi to have gone through the processes ways that truly resonates with them. The documentary enlightened me to the impact of proper consultation process, and how creating a project as meaningful and large as this perhaps isn’t as streamline or smooth as some may think. The film presented much more than just the practicalities of working cross culturally. It demands a level of compassion from all that can only be found during the process, as many of the mishaps along the way may seem unprecedented. Those involved must enter with a mindset that is not intimidated by this, but
one that embraces it by putting those who the project is made for first. This is ultimately achieved by the Indigenous members involved holding control over the processes and how they are carried out. It’s clear that Rolf is present merely to facilitate the output of a story that the people of Ramingining and Murwangi want to tell through acting. Through the film, I could see how Rolf’s kind, insightful and patient approach demonstrates a guidance and support of those involved. He is always determined to solve problems with the best intentions of everyone at heart. He puts his best efforts forward to ensure everyone feels comfortable and if there were times where hiccups happened, he would deal with them in a dignified manner without rushing the process. It is so important for those involved in a project to feel safe enough that they can vocalise what they are uncomfortable with.
2.0 DESIGN PREPARATION
Photo taken by Bower student 2019.
2.1 IN CLASS DOCUMENTARIES
COMMUNITY CONSULTATION TECHNIQUES I found this really informative as it gave me a good grasp of the challenges, procedures and technical approach to go through when involved with talking with the community. Overall, engagement produces better outcomes. The main issues that I got out of it were to do with the fact that observation
and noticing what people choose to tell you is really important when involved with discussions in the community. The other thing is that silence is very important it gives people the space and time to speak, it’s often unnecessary to try and fill the silence with your own thoughts. In this way informal consultation is integral. Make to connect with people. Good points of discussing multiple avenues to present ideas to others in different formats such as using imagery, videos, spoken word, and drawings.
MEMORIAL LANDSCAPES This provided an Interesting approach to assessing various indigenous projects around the world including Indigenous communities in NZ and the Inuit people. It seems that often the experience of the landscape depend on your own thoughts and knowledge that you bring to the place, so perhaps in my own project the design of the landscape incites these feelings. For example, the Wave Hill site represents a history of complex and conflicting stories for Gurindji and Australian population, thus may incite emotions related to the ongoing struggle of the Gurindji people and their quest to claim back country.
Community Consultation Techniques. Image taken from documentary.
Left: Waitangi Treaty Grounds. Paihia, Bay of Islands. Right: Brambuk Cultural Centre, Halls Gap,
It seems also that landscapes can offer the experience of a journey, such that the education and memorial process becomes embedded within the activities taking place in the landscape. Perhaps the learning experience comes from where you are or what you are partaking in within the landscape space. In the Maori Example, they rebuilt structures that renewed the occupation of the space, such that the landscape and the architecture has been reinterpreted. This perhaps does reflect the depth of occupation that occurred before colonialism. The Inuit Arts Festival was a good example of process and event, whereby the commemoration or celebration was as much part of the culture as the space itself.
LOCAL CULTURAL SPACES Cultural centres may not necessarily be able to 'fix' everything in their path, thus when designing it is important to select one or two specific problems that the centre might grapple with. The building must support the current cultural needs, however if the building lacks a focus then the community engagement may be compromised. Agency in the building from the people who are using it is essential to bring out successful outcome.
INTERNATIONAL CULTURAL SPACES Yasmeen lari Women's centre in Darya, provided a focus on a female architect and resolution to the issues that women have in communities, as well as the design meeting future environmental conditions. In class there was discussion around how there could have been more exploration of who instigated this work and how the process empowered women, instead of just stating that it empowers women. There is difference between places where the indigenous people are the majority and where they are not. Where they are not they need a place to have their own voice within a participatory approach. The example of Renzo piano's culture centre in Noumea in new Caledonia, called jean maree tjibao was relevant for its controversy and provision of an economic development through tourism. Term given to outcome of celebrity builds is the bilbao effect – interesting to consider the pros and cons of how showy architecture can work to help or hinder economic uplift for cities.
PRACTICAL FEEDBACK • When raising an idea that is linked to how or why a building came about, discuss what happened to make the emergence of the cultural landscape or building come about – this gives people insight into why that particular example is relevant, say if it is being used as a precedent. • Avoid forcing the viewer to choose between looking at text and focus on narration – if these don’t correlate then understanding is compromised • Ensure to close points clearly and concisely, before taking the viewer on next exploration • Don’t rush through too much information, as less is conveyed this way. • Some text is beneficial to drive home points or to show names of buildings.
Top: Yasmeen lari Women’s Centre in Darya Bottom: Renzo piano’s Culture Centre in Noumea in new Caledonia.
APPLICATION Videos are a possible way that we may use to present ideas to the community. So thinking about aspects that may help with the absorption of information when presenting work, such as production quality, music and pace of speech is essential. It’s integral to really think about the use words like 'empowering the people', which reflects more of a top down approach and is somewhat condescending as there is a sense of which the empowerment comes from people of power who are delegating roles. Instead, the community should be agents in driving the process. The most integral takeaway that I got from the documentaries, is to have the users at the forefront of my mind when creating any sort of cultural building. How the building will be used should be one of the key determining features of the architecture. There is a difference between marking and making place for aboriginal people.
Informal Community Consultation. Image taken from Community Consultation documentary.
2.2 DESIGN ESQUISSE 1 KALKARINGI ARTS CENTRE ‘HANGING DISPLAY SPACE’
Hanging system to allow for flexible display of various sizes of paintings. In the front row the paintings could be hung higher or at different heights to allow for full viewing.
When the doors are open to the extension it could turn into a full gallery space again for specific events if wanted.
I thought it could be quite a beautiful interaction between indoor and outdoor spaces.
HANGING SYSTEM MODULE
The module is a size that allows for displaying of artwork through suspension system from the ceiling. It would include a hanging rail that is attached to a pulley system so that the whole rail itself can move up and down, allowing changeable suspension height. Artwork could be attached to the rail at a ground level then pulled up to be displayed from a height, so that the work space below could still stay active and allow movement of people on ground level. It could be hung from wires that are not flimsy or weak. The system overall would be robust and made out of steel elements, and the paintings could be attached to two points for stability.
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PLAN
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The systems could attach to the purlins that are already existing in the extension space, and in the main room, C sections could be attached to hang along the already existing steel portals. The paintings should be hung perpendicular to the window so that the light is able to come through.
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STORAGE MODULES In addition to these hanging systems there would need to be art storage units. Stacking of either smaller canvases (image on the right) or taller canvases (image on the left), which would allow for protection when the artwork needs to be put away.
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1:5 SCALE PHYSICAL MODEL
The C section facing down would allow for T shaped elements to slot in where the art hangs from, and therefore could slide horizontally and be adjustable depending on the sizes of work.
TAKING ON BOARD PENNY’S FEEDBACK If were to complete this exercise again, I would explore a different system. I think my system is not entirely appropriate for the needs of the Kalkaringi arts space in terms of the following points: • The hanging system fails to prevent dust from ruining the artworks - perhaps this could be mediated with some kind of clear enclosure around paintings but this may be too high maintenance. • Penny also mentioned a few times that this is “not a gallery space” and is “more like a home”. This really stuck with me and got me thinking that perhaps my hanging system would be unsuccessful as it may prove too fastidious and fussy for the organic way in which the Arts Centre seems to run, with many people moving about works and being involved with their display. • Penny mentioned that these modules would need to be designed in a way that would allow for people to not only view and move art works around that are already on display, but also ones that are slotted into storage. Leading on from the point above, my hanging system design is perhaps not the most intuitive for people to navigate if
they have not tried it before, and thus one would probably have to be directed as to how to use it for it to function effectively. This would then limit the people involved, thereby making the system not as inclusive as it could be.
REFLECTION This exercise was also really great for me as a reminder to know exactly how things could be built and how parts are connected. What I love about this studio is the challenge of understanding how a proposed design operates and functions in detail, not merely a hypothetical suggestion or merely a pretty render. Everyone was very drawn to initially to the idea of outdoor display - we all tended to think that appreciating the works on the landscape itself and the ability to have exhibits spill outside would be a viable option for these modules. However Penny spoke about how in reality the temperatures can get to over 40 degrees, which would heat metal to the point of it not being touchable, defeating the whole purpose of the interactive and movable modules. She said that even at 5pm when she is locking up the arts centre she cannot touch padlock because its too hot! She also mentioned that the heat from metal could effect the art to some extent.
OTHERS’ DESIGN ESQUISSES KALKARINGI ARTS CENTRE
FEEDBACK FROM PENNY Overall, Penny gave us some wonderful feedback regarding our display ideas. Many people went with the ‘art cart’ idea, whereby individual modules that can also convert into display storage units provide dual function and a legitimate way of going ahead. Penny discussed the need to refine how these systems might operate and the degree to which they protect art when its in storage. Some points that she brought up that I thought were intriguing, were that these systems would not only be used for exhibiting means. She also discussed with us that they would need to be able to function as a portable unit to be taken to another safe place when the Arts Centre needs to be dismantled. Penny also mentioned that moving things isn’t always easy due to limited staff and people involved in these processes. Thus
these solutions need to be simple, light, sturdy and able to cope with a different type of intimate and hands on environment than that of a normal gallery space. She told us how its totally opposite to a normal urban context, how people are often bumping into each other, there might be the occasional dog welcomed and there was even a time when a pig would come in and rub its body on the artworks. Thinking down to the details such as types of wheels or casters could make all the difference. James pointed out that the robustness and simplicity of idea that is so integral to designing something for the kind of environment and harsh climate that encompasses Kalkaringi. Minimising dust penetration, breakage of elements and impact of heat should always be at the forefront of our minds. Most of us also assumed that the art
is framed, however Penny mentioned how much of it is in fact the raw canvas, especially since they are moving more towards internet based sellings. It thus becomes a matter of cutting canvas into standard sizes so that they can be delivered in mailing tubes. The designs therefore filed in the aspect that many of them could not hang the raw canvas safely. She also mentioned the analogy of people being able to look through them like you would a carpet display swatch in piles on bench-tops as it can’t be done vertically.
REFLECTION OF THE DESIGN PROCESS Having Penny’s feedback was integral in terms of critiquing my own design process. By us giving her a variety of possible designs, she was then able to tell us what she thought was successful or not so successful about each of them. I have realised through this process that these very important constructive criticisms only arise when something is offered to critique. So with the client its important to actually show iterations so that their vision can be refined - as sometimes the client knows specifically what they are after and sometimes they aren’t so sure.
Top and Bottom: Presenting ideas at the Arts Centre. Photos taken by Bower student 2019.
Something that I have been feeling some concern over throughout this process, is producing work that is appropraite for the community. I have realised just how integral it is to exchange knowledge with community members and the necessity of working in tandem. The fact that myself as students is privileged enough to be invited into this environment to possibly help in the design of a structure, that if built, would hopefully support the community in a positive way, adds
a very real sense of pressure that I find somewhat paralysing at times. What I’ve come to realise, is that with a design build project such as this, that fact that we as students are in an unknown realm means that the ‘right solution’ will almost never be thought of initially or immeditely. Thus trusting in the intimate process of being in good communication with members of the community, as well as whole heartedly taking on board the constructive criticism and feedback received from our team, I feel will help me to create a sensitive design response that reflects what it vital for those who live there.
CANVAS WITHOUT FRAME Alexia’s esquisse touched on how raw canvases could be stored and displayed by being placed back to back on a hinge along a length. Paintings can also sit at different heights in her system, can be self standing or stack on top of each other. She mentioned that these modules could be quite interactive with kids and allow for storytelling to occur, however Penny remarked that perhaps dirty hands on the artwork may not be the best.
of the bed frames left behind on the cattle station. The perforated sheets also represent the dappled sunlight through trees. At the moment it’s just at the entrance to the arts centre on the door design, so upon reflection, I thought this was a really special part of her design and reminded me that for my own design it would be useful to continue to think about what materials are familiar to the community and hold positive connotations that can be translated into the design.
EASILY MODIFIABLE FRAMEWORK Annabelle’s art hanging rail that could be used on smaller wall spaces, I thought was great as a flexible hanging space to suit the needs of arts centre at the time (see image adjacent). Emma’s work whereby art is also hung on perforated metal, with additional storage behind is a neat way to use wall area and allow continuation of activity in the centre of the space.
HANGING SYSTEM Damien’s hanging system was similar to mine, I thought he resolved the pulley system well so that the mechanics would funnel into one system on the side of the space.
CONNECTION TO HISTORY Annabelle also spoke about how her design brings the bower theme and history of wave hill walk off. She told me about the story behind the wall off pavilions, is that the rusted steel angle rectangles that hold the perforated screen is representative
Work by Annabelle Roper
Work by Emma Martin
Work by Damien Cresp
Work by Alexia Baiki
THOUGHTFUL DETAILS Bronte’s design involved intricately detailed units that could be placed wherever one wanted in order for them to be versatile in the space. One of the elements that I felt was very well thought out was her integration of the secure hidden draw to place artefacts, not only storage for paintings (see image below). It’s small useful elements such as these that make for a purposeful design solution. Sarah’s design involved dimensions of a human scale, and a manageable module that could be moved around by one person manageable on industrial type caster wheels, which I thought was a great solution to what Penny was saying about how things can be difficult to move due to limited staff.
Work by Sarah Fearn-Wannan
Caleb’s integration of ledges to hold the artworks was well considered. His use of pegs also was a clever solution for when people come to view the works, they may want to sift through the stored ones. Having them easy to access right behind the displays is efficient. Its also nice having the pegs separate them, as if they were stacked tightly against one another, people could slide them in and out and accidentally damage them. One thought that I did have about his design however, was that if the seats for people were to be involved, the system would potentially flip if it was on caster wheels as shown. Or perhaps if he wanted to keep the seats (which I think are a lovely addition) the frame may need to be more sturdy/have more weight and not be on casters for safety.
Work by Caleb Matton
Work by Bronte Scott
PULL-OUT ELEMENTS Gaby’s design was really well thought out in terms of having a draw system to store tools, partly finished works and raw canvas. This give a place to store works that are safe and easily seen if wanted. Her idea of removing the bench along the back wall to make room for the sliding display panels is wonderful. Andrew placed emphasis as well on sliding elements that could pulls out and extends in a few ways. His versatility of hooks is also great where different choices are needed from time to time to actually attach the canvases or frames to the perforated metal. Shalini and Leif’s modular units were meant to be movable inside and outside of the centre, to account for events that may expand potential of space inside. I liked how the orientation of module can be changed and again screens that can be pulled out it in a simple and effective manner.
Work by Gaby Miegeville-Little
Work by Shalini Rautela
Work by Andrew Mackinnon
Work by Leif Canuto
DISCUSSIONS IN CLASS
IDENTITY Stan Grant in his book ‘Talking to my Country’ discussed how his surname Grant is because one of his grandfathers was an Irish convict sent to Australia. He discussed how had a strong sense of identity in coming ‘home’ to Ireland and that he felt a strong sense of connection to country. This got us thinking about how feelings of identity and connection to country come about, and how different people feel a strong sense of their identity in different locations. Some of my classmates said that they felt centered when they go to the part of the world where part of their heritage lies, even though they may not have been there before. We talked about how not having been to these places, maybe makes people feel that a part of their identity has been forgotten, and it’s an identity that resurfaces when standing on the country you can abstractly connect to.
My strongest connection to country, or where I am most comfortable is in different places. I would say that I have my home identity which is in Melbourne as well as the identity I have when I am at my beach house in Moggs Creek, a place that is incredibly important to me as I spent a lot of time there growing up. I certainly feel like the truest form of myself and the happiest version of me when I am there. We also discussed how one can feel their connection to a place where part of their identity lies, however the feeling also of being far removed. For example people from the stolen generation who have grown up in families who may not have Indigenous traditional practices, possibly feel quite removed from their ancestral heritage. So on one hand they may not have a prolonged connection with Indigenous heritage from their family, but they do identify as aboriginal. In another sense perhaps it is also the creation of modern translations
of cultural significances that may engage ones identity – it may change for each individual. IMPORTANCE OF LANGUAGE We also discussed the importance of language to connect with not only oneself but also with others. Possibly the easiest way to get an insight into another culture is to start to try and learn some of the language. I do feel from personal experience that from travel I have done in other countries, that it can be very difficult to make good friendships and solid bonds without knowing the language because undercurrents of tone and humour can be missed and it can be difficult to understand ones true personality. An important consideration when talking with others who may be bound in their ability to communicate in their native language that is not familiar to the other person, and thus possibly not be able to communicate ones true identity.
2.3 INITIAL DISCUSSIONS SURROUNDING THE FAMILY CENTRE 27/03/20 It was really wonderful having the initial meeting with our mentor Quetasha. Quetasha was born in Kalkaringi but is not is not currently living there. Her mother is a Traditional Owner of Kalkaringi. She currently lives in Cairns with her three kids. She works as a research assistant at James Cook University, with her current project is looking into mums and bubs at Cape York. She is interested in how womens groups in remote communities have an impact on health? She let us know that would like to involve herself with her community more, as she’s always been passionate about this but never had the resources to make it happen.
Opposite: Photo taken by Annabelle Roper.
REFLECTION Talking with Quetasha made things much more real, even if we don’t get to engage with the community as expected we’re still working on a real, project that will impact people in extremely positive ways. I have realised the importance of talking with people from the community to be reminded of the project’s value. I’m so excited and feel very privileged to be involved in this family centre. I feel that a lot of small gestures could go a long way. I have also realised that it’s actually making me feel very empowered to be given the chance to work on a project that is for families. I adore delving into the relationships between mothers, babies and families, so this project really resonates with me in terms of my passions for social change and justice for a specific cause. I feel so excited to be part of such a wonderful student team also, including myself Bronte, Shalini and Sarah. All of us ladies have strong conviction, are passionate, warm, open and curious, and I really feel that we will endeavor to respond to the needs of the community through our design suggestions for this family centre. I’m really looking forward to this overall process, and engaging with Quetasha and our overall team to gain insight into how we can help to create a centre of real value for the community of Kalkaringi.
INITIAL IDEAS DISCUSSED • Needs to be open and welcoming to all individuals, and will be a place where people know they can get help - in particular men, women and kids. • Thus cultural barriers and gender roles must be considered by having separate spaces for men and women, for example the waiting room may be gender specific. • Kinship within the community. Quetasha spoke about the fact that there are certain people who individuals cannot associate with, such as poison relatives or family members. It is forbidden to talk or be close with these people as sign of respect. This leads to the need for distinct, separate areas to accommodate this. • It will be targeted towards kids from 5 years and upwards because there’s already a childcare centre next door catering for kids up to 5 years. Low sun at the Art’s Centre. Photo taken by Bower student.
SERVICES TO BE PROVIDED • Spaces to arrange appointments for child and family services. • Spaces for service providers coming in from Katherine and/or Darwin. • Approx. 3 consultation rooms which will be private spaces for people such as legal services to talk to families, or headspace to talk with a young person. • Spaces need to be confidential enough that people aren’t seen to be seeking services.
CONCEPTUAL SKETCH DESIGN - PLAN • Bench to sit and wait, two sides for men and women. • Reception in front of benches where they are greeted. • Behind is a space where manager and staff sit all together. • Behind is be a small consultation room. • On the site is an open plan mums and bubs are. • Then other side would be a youth room, kitchen and another space, possibly a mens and womens area? OUTDOOR AREA • Again separated for men and women • Bbq facility • Possible incorporation of a desert garden • Need for adequate shade
Drawing by Quetaysha depicting her initial sketch design ideas
CONFIDENTIAL CLIENT ROOMS • Counseling and legal services with video conference facilities • The rooms may not always be operating at the same time, however if they are there, sound proofing between rooms must be implemented. • One for lower age family group and another one for older age bracket • These rooms may also be used to have their own internal meetings.
OFFICE SPACES • Must be open plan • Crew including Manager, 2-4 outreach people (who coordinate visiting families), • 3 or 4 desks - could have people walk into there and be delegated to a confidential room. OTHER SERVICES • 2 or 3 areas to use computers for uses such as reporting to Centrelink or banking and adult learning - these could be hot desks • Location of these is important, they must be visible to the manager and office. OTHER USES • Quetasha mentioned that the centre would be a social area that the community would enjoy coming to be outside of business hours. • Some nights there might be workshops or separate educational sessions for men and women. There could be events such as mums and bubs coming in for a movie night. These events should cater for approx. 20 people. • There was also talk with Phil about the benefits of providing accommodation, which is necessary to have volunteers come in.
WHAT CONSTITUTES A WELCOMING SPACE? • Main entrance as open as possible • Culturally appropriate items, familiar items, or references to culture, like artwork or familiar items that talk to the community to make it welcoming as a building. • Having a kitchen • Thinking about the atmospheric qualities of the space such as ensuring adequate natural light, views, and shade. • To accommodate spaces that are ostensibly contrasting in their functions of openness in the more social spaces and confidentiality in the consultation rooms. • The openness intended for the more social spaces does not necessarily equate to having all the areas under one single roof. There could for example be a series of internet connected pavilions. • Possibly having a blurring of interior and exterior space. These factors are integral for the community to know that this is a space for them. Private vs Public areas We discussed with James that a possible way to achieve is the effect of looking
through perforated steel or landscaping from far away to obscure the view from eye height and allowing from openness above. This may allow for the required so that people’s view lines to others walking in and out of certain spaces is obscured. This is integral to consider as some people going into a meeting may feel concerned about getting help from people such as social workers, thus even their presence there or transition there from the street must remain private in order to create a sense of comfort and support in the centre for individuals using the facilities available. but creating a sense of openness from the inside. PROGRAM AND ACTIVITIES • Activities in language, culture, art, bush tucker and medicine, involved around cultural custodians as these are the people they want to support financially and for the maintenance of their knowledge. • The family centre is a somewhere to engage through different focus aspects so that their main aims are to transfer knowledge to younger generations in ways that are appropriate. • More serious activities around mental health, women and bubs. For example teaching young mothers the traditional
ways of smoking babies - these kind of activities are valuable for families. • The need to be a conduit and referral basis to direct people to head to the clinic across the road, or get help with housing. It’s all about getting experts connected. BUDGET • Activities themselves - $600 000 operational budget which is enough to employ a manager,4 outreach people, pay rent and electricity. • 260 000 dollars a year - catering for food and bring in people from outside, such as DJ Charlie, for youth empowerment
Initial location discussion Initially there was discussion about the location being next to the early learning centre. When we talked with Phil, he mentioned that community members and board of directors suggested that this would be a good location, as it would create a precinct for health, early childhood and community members, and is close to the school which is the other major partner. However we learnt from Quetasha the issues associated with this include the fact that it has the footy oval behind it, which may create a problematic relationship between the centre and the activities at the oval. There were also concerns from Quetasha regarding confidentiality that must surround the centre. This location is in close proximity to the clinic, childcare centre and school, meaning there is limited privacy surrounding activities that may be personal or sensitive for people vising the Family Centre. It could create problems if everyone knows what individuals are up to. Also if school kids can see families entering the centre, they may want to come out of school out of curiosity which.
This may result in the need to create a more private facility by constructing a screen that may make the Family Centre not as visible from the school/oval/street and areas of high activity.
Location mapped out in red with red arrow showing connection to school. Very close proximity to the oval, Childcare Centre and building 125 which is the Health Clinic.
Revised location The new preferred location to provide more for the Family Centre is the two adjacent blocks on the unoccupied corner across from the Health Clinic and Early learning Centre.
The new proposed location is circled in red on the map.
APPLICATION David mentioned to us that it was clear that Double R’s heart wasn’t in the site of the initial location, as well as Tasha’s. They were sure about the fact that the location wasn’t right. Phil on the other hand, who wrote the funding application and of course has the best intentions at heart for the community, was quite convinced that this location was the right one, but once others expressed their concern it provided opportunities to consider other sites. From this I realise that the importance of allowing for clients to have the think about decisions and it’s often in this period of reflection that they can express their thoughts more quickly, an integral part of the consultation process.
REFLECTION BEFORE PRECEDENT RESEARCH From this talk with Quetasha, I got a strong sense that the spaces must be in tune with the aspirations of community, that are suited to the activities required and wellbeing. Thus in my precedent research for Family Centres, I really want to keep this in mind and ensure that I’m not simply finding precedents that are objectively architecturally pleasing, but centres that are successful - or even unsuccessful - in engaging local families. What really struck me was the need to understand what cultural barriers are specific to the community, and how this must be integrated in our designs. Thus through my research I want to gain much of my insights from family centers that are in more remote settings as opposed to simply looking at examples that are placed in western or urban settings.
Entry These images are talking about a possible entry from within the site which has a focus on a central axis that might allow a permeation through the site and split it into functions, which I feel is helpful as we’re trying to cater for a whole range of private and public functions. Having the axis as a feature in emphasising the entry from those outdoor areas to welcome people in. CONNECTED TO LANDSCAPE I have gathered that its important to have spatial and visual connectedness between inside and outside, and so having areas where people can easily enter, and then when inside, people are not excluded from the landscape. WAITING AREA Having separate waiting areas so that men and women can choose where to wait.
My initial sketch ideas
Pathways - Oblique Entries Possibility of entries being oblique so as not to be too obvious when people are moving through the spaces in the family centre.
Natural Ventilation Fixed louvers at the top of the building in certain places with windows adjacent, to allow for fresh air and glimpses of the sky, without people being observed and allowing for a sense of spaciousness from within.
Sight Lines Choosing which sight lines people would want to or not want to have will be integral in the final design. How to deal with undesirable sight lines? Through materiality?
A Center for Families - Multipurpose spaces and public areas Here I was thinking of having the kitchen in direct contact with one of the main outdoor areas so that there’s a lovely activation and spill of people out of the spaces and it might help to really emphasise the social areas of the centre as communal. Also in these spaces that will be accommodating lots of activity, possibly using concrete blocks or earth bricks which might serve as a heavy or robust element to ground the building n its initial stages. These I imagine to be quite alive and bursting with activity, so really allowing for families to make this place their own and as homely as possible. This is possibly where the play areas are integrated in a safe space.
Model Making I found that through the making these little sketch models I became really engrossed with texture, light, structure and materiality in particular, and how these could be translated into the family centre. I really feel that using a variety of materials that allow for varying degrees of visual interaction between spaces is important as we’re trying to cater for a whole range of private and public functions in this centre. So I started with replicating the effect of polycarbonate here which has a really beautiful ability to diffuse both sunlight and artificial light, and creates a beautiful glow. Here is was playing with the possible effect of polycarbonate which creates a soft diffused glow which I imagine would feel homely and inviting for having discussions that might be sensitive. It also can transform how objects behind it are seen so they become abstracted, but you still get a sense of activity or colour or structure that might be there but from within you don’t feel exposed. My thoughts with the family rooms are that if the people are in a space where they can feel absorbed with the textures and patterns of light around them, they might feel removed to a degree from the other more social areas of the centre and therefore feel comfortable to have discussions that might be somewhat difficult.
Model Making Different kinds of transparent materials and seeing how they react to light. Textured soft plastic blocks light, while the clear plastic with water droplets in it bends the light so that the shadows are dispersed, the milk carton is shiny so the reflection of artificial light is more intense, while the matte trace paper really softly diffuses the light while allowing shadows through. I also thought about how timber could be used in the building with material such as concrete at the articulation with the ground to prevent destruction from termites, and how the concrete might serve as a heavy element against the quite ephemeral feel of the polycarbonate. Or perhaps if it was steel it would appear as if the timber was almost floating off the ground instead of being so heavily grounded. Walls don’t have to be one solid blocking element but allow for those quick sightlines through and spots for kids to crawl and explore. Colourbond metal might be able to fold to create little openings like eyelids with eye lashes which again I feel might be a nice gesture in exposing the possible use of materials in a multifunctional sense, so here not just as cladding but as integrated shade elements.
PRIVATE CONSULTATION ROOMS The consultation rooms are key to this brief, as well as privacy and comfort being very important. I thought that a possible response could be to have a separate pavilion to the rest of the main building that incorporates consultation rooms. I thought this might reflect on the idea Taysha raised about privacy, as I wanted to consider how some people might feel comfortable in a space that’s more enclosed and protected, and removed from the activity of the main areas. I also felt that having that access to private outdoor nooks would be important to allow families options to sit outside and places for kids to be aswell.
APPLICATION Pictured to the left are some diagrammatic images that describe the kind of feeling that was integral in my final design of the consultation rooms which included the layering of materials which creates a filtering screen that allows light in and gives people inside a feel and texture of the landscape outside, but adds a sense of privacy.
APPLICATION CONTINUED In my final design also, family rooms are adaptable depending on the needs of the families that occupy them in terms of soft and hard furnishings. Above is an image of the type of integrated seating I initially considered, however in the final design the seating is much more integrated with the screens and less obvious than what is pictured above, they are more like the nooks that are featured to the right.
BUBBLE DIAGRAMS Zoning the site - Started by having a go at zoning the site which was mostly about dividing the site up into private and public areas - so for example in diagram C I thought that having the south eastern corner of the site dedicated to a more relaxed public community focused function would make sense because it’s the one in closest proximity to the cresh thus the most exposed. Having the more private functions such as the consultation rooms on the northern site of the site possibly allows for more privacy. Each of the consultation rooms having its own outdoor nook would be important such that the people might be able to transition outside or escape outside if need be. Axis and arteries - Creating an axis that involves both the cresh orientation which is northeast and also incorporates the line of the health centre would be useful to strengthen again the precinct as an interconnected hub of buildings and allow for some relation to each other. The axis also helps to allow a permeation through the site and split it into functions. I also thought with this diagram that
possibly having the axis through the centre then buffer zones and rooms on the periphery could be a way to create privacy to places that need it. Part of this comes the importance of creating buffer zones on both small and large scales. - Large scale being between the cresh and family centre - And between functions within the design itself Buffer zones could be outdoor areas such as decking, undercover areas, or planting space.
Finally I thought that possibly defining this corner to help ground the area as a family and health precinct. Helping to define the corner by creating a soft transition between the road and the site through a canopy structure that invites people in. Specifically within the functions of the centre could include separate pavilions or rooms that are possibly under one roof, possibly not.
ZONING THE SITE
AXIS AND ARTERIES
DEFINING THE CORNER
A
D
G
B
E
H
C
F
I
In these initial iterations of plans I kept the breakup of zoning in the site in terms of private and public areas - so the south eastern corner of the site is dedicated to a more relaxed public community focused function would make sense because it’s the one in closest proximity to the cresh thus the most exposed. Having the more private functions such as the consultation rooms on the northern site of the site possibly allows for more privacy.
OUTDOOR AREA
YOUTH
MEN'S AREA WC (M)
CARPARK CONSULT 3
MULTIPURPOSE AREA CONSULT 2
PLAY
WOMEN'S AREA STAFF AREA
STORE
OFFICE
COMPUTERS
STORE
WC (F) KITCHEN
LOUNGE
DDA
SECURE ENTRY
WAITING AREA
OUTDOOR AREA
CONSULT 1
OUTDOOR WAITING
1 ...
Carpark at the upper north western corner of the site to allow for privacy, so that’s the main entry point. Then enter through the secure entry through to private/semi private spaces that accommodate for staff need/surveillance, such as the use of computers for example, as well as visual connection to the carpark.
OUTDOOR AREA
YOUTH
CARPARK
MULTIPURPOSE AREA
CONSULT 3
CONSULT 2
MEN'S AREA WC (M)
PLAY
WOMEN'S AREA STORE
OFFICE
CONSULT 1
COMPUTERS
STORE
WC (F) KITCHEN
LOUNGE
DDA
SECURE ENTRY
WAITING AREA
OUTDOOR AREA
OUTDOOR WAITING
1 ...
Then come through to the second half of the building where there is undercover outdoor areas that permeate into the informal areas. Separation between mens
OUTDOOR AREA
MEN'S AREA WC (M)
YOUTH
CARPARK CONSULT 3
WOMEN'S AREA
PLAY
CONSULT 2 PLAY
MULTIPURPOSE AREA
STORE
OFFICE
STORE
COMPUTERS
PROGRAM Informal (Public)
WC (F) KITCHEN
LOUNGE
DDA
SECURE ENTRY
CONSULT 1
Formal (Private)
PLAY WAITING AREA
OUTDOOR AREA
Semi-Private OUTDOOR WAITING
Shaded Outdoor Areas
1 ...
Initial sketch plans that helped me start to understand spaces, but also helped me realise what graphic style NOT to do!
and womens areas by the multipurpose room? Or Possibly placing the mens and womens areas adjacent to one another which may help break down those boundaries and separations between gender roles? Consultation room to the south which is easy entry from the waiting area, and then allowed for 2 consultation rooms to be a separate pavilion, each of which has their own outdoor nook that face away from each other.
APPLICATION Even though these plans were quite unsuccessful, they enabled me to think about how I might create a building that reads plan and section in an interesting way. These don’t have the joy that caught our eye with the Chigwell Family Centre project. In my final design I tried to think about what would make the project pop!
The plans the left were unsuccessful in many ways. The plan to the bottom left upon reflection looks more like a prison that encloses people as opposed to one that opens out to the landscape.
APPLICATION The plan above is the most successful because it gives th ability to separate spaces in a way that is culturally appropriate as well as fitting in best with the site, thus this was the variation of the plan that I ended up basing my final design off.
APPLICATION Taysha mentioned that the family rooms as singular pavilions would be too exposed and not secure enough, thus in my final design after discussions with David, we came to the conclusion that adding screens around the family rooms to encompass them in one are, with 2 lockable gates to enable security. This would allow for multiple entries and exits in each of the family rooms to still happen to allow for the rules around avoidance relationships to take place.
LIBANANGU ROAD
SECTION B-B
SECTION A-A
WHITLAM STREET
Project Name Here Enter address here
Scale Drawn Project no.
Unnamed
Status Plot Date
Revision
Date
Description
Initial
Checked
1 : 100
Checker
Melbourne 1 Nicholson Street Melbourne VIC 3000 Australia T 03 8664 6200 F 03 8664 6300 email mel@batessmart.com.au http://www.batessmart.com.au
Sydney 43 Brisbane Street Surry Hills NSW 2010 Australia T 02 8354 5100 F 02 8354 5199 email syd@batessmart.com.au http://www.batessmart.com.au
Bates Smart Pty Ltd ABN 70 004 999 400
Project Status 1/06/2020 2:26:14 AM
A30.113
All drawings may not be reproduced or distributed without prior permission from the architect.
Checked
Project Number Here
BIM Drawing no.
@ A1
Author
Check all dimensions and site conditions prior to commencement of any work, the purchase or ordering of any materials, fittings, plant, services or equipment and the preparation of shop drawings and or the fabrication of any components. Do not scale drawings - refer to figured dimensions only. Any discrepancies shall immediately be referred to the architect for clarification.
Revision
TM
2.4 ARUP PRESENTATION BY RACHEL NGU AND JORJA ZANOTTO. THE ENGINEERING DESIGN OF THE SCREENS TO BE ASSEMBLED IN KALKARINGI. ARUP’S ROLE IN THE PROJECT Structural design of the vertically spanning steel members, horizontally spanning steel members, the concrete pad footings that the columns connect into, and the connections. Considerations in design: • Strength of the individual columns and horizontal members, with a need to consider their loads to be supported. The horizontals for example have a structural role because the mesh is fixed to them it spreads between each members, then they take the load to the foundations. • Stability of the overall system • Serviceability/deflection - beam cant deflect too much otherwise concrete will crack. • The EA cross brace pieces act to take the wind load from 4 points instead of 2, thus making the moment less at each location. • Secondary structural effects also
important to consider • Forces to consider for this structure: - Dead load - Live load – people for example - Wind load - When you have wind on it how much does the structure move?
Model that Rachel and Jorja were talking to during their presentation - very important to have physical models when discussing complex topics in order to have clear communication.
Central Columns 1500x1150x700 Edge Columns 1500x850x700
Pad Footings - Plan
-
Refer to schedule for basep 400x300x25thk baseplate
25 non-shrink grout or non-shrink grout. packer plates to suit
N16-200 bars top & bottom
180 mm
Couplers 2-R10 Ties (hot dip galvanised)
Bolt450 Length
N16-200 bars top & bottom
300 mm
6 CFW
A
Edge Columns
Pad Footing Reinforcement
Section A
Holding 4-M20 8.8/S Holding down bolts 'N' grade 4.6/ (hot (hot dip galvanised). Refer to sch
12 'AT'
Central Columns
400 mm
Pad Footings - Elevation
N16-200 bars bottom
N16-200 bars bottom
300 mm
Note: Pad footings to be embedded 300mm into the ground (i.e. top of footings is 400mm above ground and the maximum height of columns above pad footings is 3.6m)
280 mm
Note: Columns to be placed centrally to pad footings.
A
Edge Columns 1500x850x700
A
400 mm
Central Columns 1500x1150x700
700 mm
300 mm
700 mm
1,500 mm
400 mm
850 mm
1,150 mm
1,500 mm
CONCRETE PREFABRICATED PAD FOOTINGS • Get them into the ground to reach a solid surface/foundation to bear on. • Very large to counter the wind load. Also due to the cantilever, the system wants to turn over so the pad footing size helps to counter this. • Precast was used because concrete needs to have properly cured for 28 days to reach its max strength before columns can be fixed and loads are placed on it, so it’s much easier to do before getting on site. • Precast also because mixing these large quantities pf concrete on site by hand is unfeasible.
70 'AW'
Job Title
Sketch TitleStudio 2020 Bower
Typical Baseplate Detail A
Sketch Title Job TitleSection Steel
A
Sketch Job No.No.
SK-S-002 By Made by
JZ
Job No.
Sizes and Pad Footing Sizes Rev. Sketch No.
A
Date Date
26/02/20
Scale
NTS Checked
RN
Rev.
Chd.
Pad Footings Plan and Elevation: Central pad footing with column above (located centrally in the pad footing), showing how the pad footing extends only 300mm into ground to minimise need for digging - not too deep. Typical Baseplate Detail: Precast threaded bolts for ease of fixing on site. Rectangular plate on the concrete pads that have been prefabricated with bolts that have a thread on them. Another alternative is to cast the pad with the 4 holes in it, then use dyno bolts.
KEY PROJECT CONSIDERATIONS • Maximum member size for design intent (150EA) • Construction process • Manual labour to be considered • Weight of members to be as light as possible GOVERNING CRITERIA FOR THE STRUCTURE High wind loads due to terrain category resulting in: • Large overturning moment • High lateral deflections governed by the high wind loads on structure, because it’s an open area in Kalkaringi. Had to think about how they can limit deflection to be in the tolerable allowance and limit the overturning moment on foundation to make pad footings smaller. • Screens removed on the top face and permeability of material increased for the remaining screens to reduce the wind load. When they first looked at the design there were panels all over it, but by the end some were removed to increase the permeability of certain panels so that wind goes straight through.
Top: Perforated steel for screens Bottom: Diagram of loads on structure, specifically on screens.
COLUMN DESIGN • Central columns support the largest tributary area of load, hence are required to be larger than the edge columns. • The size of the columns depends on the tributary width, the area mid-way across a span that indicated the area that will affect the member. • Instead of using a 200EA member, they designed the central columns to be 2 sections welded together. This kept the weight of individual steel elements down and also maintain the design intent of having the maximum section sizes to be 150EAs. Welded connections are also full strength and have more capacity than bolts and screws to take moments. • Columns were all different sizes, as they also don’t want to waste material – The shipping container weighs 2.8 tonne which leaves 7.2 tonnes to play with in terms of structure.
Section Sizes 65x8EA or 75x6EA
A
150x10EA 150x12EA 150x12EA with 125x12EA welded to the inside of columns on site 2.6m 2.0m
2.5m 2.5m
Job Title
Sketch TitleStudio 2020 Bower
Diagram B
Job No.
Sketch Title
Job TitleSection Sizes and Pad Footing Sizes Steel Sketch Job No.No.
SK-S-002 By Made by
JZ
Red Arrows = The load direction takes the shortest path to the next element. Pink Square = Screen Yellow Circle = Wind point on screen Blue Circles = Attachment points to columns Diagram A
3.2m
Note: sizes are based on the column footings being 400mm above the ground level (i.e. maximum height of posts above footing to be 3.6m).
Diagram A is better than Diagram B because there are more points of support.
Rev. Sketch No.
A
Date Date
26/02/20
Scale
NTS Checked
RN
Rev.
Chd.
Custom section which uses two off the shelf sections to create a stronger section to reduce how much a structure moves. A double thickness of column for central ones – 125 by 125 sitting inside a 150 by 150.
1,005
105°
1,025
1,035
140
FPBW WELDED CONNECTION
400 140
280
80°
120
150
180
150
C L C L
60
2,590
2,550
C L
300
150x150x12MM EA FRAME
60
3,600
400X300X25MM STEE BASE PLATE FPBW WELDED TO 150X150X12EA FRAME
4 OF 25X50MM SLOT HOLES TO BASE PLATE
60
C L
280
C L
60
73° 25
400X300X25MM STEEL BASE PLATE FPBW WELDED TO 150X150X12EA FRAME
400
PLAN 1:10
2 1
SIDE ELEVATION 1:20
Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010 Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
GSEducationalVersion
CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852 Phil Smith 0406 224 866 gurindjicorporation@gmail.com
REVISION
DATE
FRAME AND BASE PLATE DETAIL DETAIL DRAWINGS SCALE 1:20, 1:10 @A3
DATE: 20/2/20 ISSUE -A
A100
In terms of process before even getting to site, there is a lot of thought that goes into the coordination of parts coming from different suppliers. David emailed to notify us that the Shipping Container for the screens has arrived at uni with the ‘kit of parts’ needed at Kalkaringi, including the lengths of steel, the perforated and mesh steel sheets, cladding, paint, tools and prefabricated columns. Issues such as these all arriving on time and packed in the correct order will make all the difference in terms of ease of construction on site in Kalkaringi. He also notified us that the delivery of the 12 prefabricated steel posts each weighing at between 130 and 150kg didn’t exactly go to plan with unloading. They had asked for a truck with an attached crane which didn’t turn up the first time round, so they had to get another truck with a crane to bring the posts back for unloading. It’s clear that no matter how much planning is involved, when there is reliance on other people, sometimes plans don’t go turn out as they should and the management of this is important to continue movement with the project.
Shipping Container Arrives at Uni
No crane to help
Crane helping with delivery
REFLECTION Listening to this presentation and seeing how ARUP dealt with the design of this project, encouraged me to consider not only how the elements could be attached and put together, but how all of the elements once put together function as a holistic system and impact one another. The detail that they went into within the design in order to minimise weight of the overall structure due to transport, and the need to lift/carry elements by hand, helped me to realise that the requirement for manual labour drives the design process and decisions in many ways, with little machinery to help with the assembly. For my own design it would be important to consider connections that are easy to do on site and are also maximising strength of the system against a climate and environment that
can be unforgiving. Another consideration that I would think about for my own design is that in Kalkaringi there is not necessarily easy access to maintenance help. It would thus be important before beginning a project to keep in mind that as a designer/builder, those involved may need to go and check out the project from time to time to possibly do maintenance on the structures. However to try and prevent this, it would be important to show the community how the structure was made and have them involved in the construction process such they may have the knowledge to fix issues if required.
APPLICATION Considering robust materials that are sustainable and of a low cost is integral, instead of using materials that may be ‘beautiful’, but would compromise the structural integrity of the system for example due to sun or heat exposure, rotting, termite issues, or dust penetration. Thinking about the climate in Kalkaringi and how a design might articulate with the elements is important, as heat was not as much of a consideration for connections as temperature variation in the project. ARUP mentioned that if the temperature doesn’t change it won’t affect the structure which surprised me somewhat and revealed that research of the behaviour of materials in different environments would be integral before embarking on a project that used it. I was initially quite shocked at the large size of the pad footings, however once I learnt why they needed to be this size for the stability of the system it made sense. So with my own design it would be important to explain to members of the community why things are built the way they are such that people may inhabit a space that they know responds to the environment in a sensitive manner.
Arup Presentation. Photo taken by Bronte Scott.
2.5 CONSTRUCTIBILITY/ MATERIALS SITE APPROPRIATE MATERIALS - SESSION WITH JAMIE
EXPENSE OF MATERIALS IN REMOTE LOCATIONS • The money available to this project is around 2 millions dollars, but this doesn’t go very far in communities its so its still expensive to build. • Concrete foundations could be over $1000 a cubic meter due to the fat that people would be buying it off a mining company in a remote location where they can charge whatever they want as there is no competition, concrete mixers in middle of desert is expensive. • Other skilled labor such as carpenters are also expensive because of the accommodation and their remote travel. LOCAL LABOUR AND LOCAL SKILLS? • The reality is that Gurindji Corporation have a workforce, but its heavily dependent on external skills. The highest level of certification is that someone might have a forklift driving licence, but
they lack confidence. • There many controversial reasons as to why the confidence and competence levels for labour are quite low, mostly due to conflicting policies. People are paid just as much sitting at home as they do to work. • There will be change over time where the community become more competent in doing tasks and gaining real training that is useful. • Gurindji Corporation employ outside qualified trades, and there is an expectation that they will use Gurindji corporation where they can as much as possible to assist in the process as part of the labour component. PRE FORMED CONCRETE • Pre-form concrete blocks is robust, quotable with a predicted outcome rather than an experimental project so could be a good option.
NATURAL VENTILATION AND PASSIVE SOLAR PERSPECTIVE • Can create breeze through the building by having roofs that have angles on them and creating a chimney effect - even if there isn’t a breeze, warmth from steel can create a thermal draft that draws air in from underneath. A room or wall that has a low window in it will draw air and will create a natural suction or vacuum by using heat to advantage up high. • In such extreme temperatures how do we use thermal mass to our advantage? Really hot during the day and then really cold at night, so thermal mass can absorb excess heat during the day to then be offloaded at night time. • Lightweight structure - max amount of built space for minimum expenditure.
NATURAL VENTILATION AND PASSIVE SOLAR PERSPECTIVE • Ensure that the project is robust • Materials must be termite resistant, and if they are not must be out of reach from termites (because they still eat MDF and Plywood) ALTERNATIVES TO GLASS • Glass smashes up there easily if people try to break in, so using plastics and perforated metals is a better alternatives such as acrylic/polycarbonate. OUTDOOR SPACES • Mod wood - made out of plastic and timber fiber. Not enough firewood around Kalkaringi so if you make a timber deck people will set fire to it. There are projects in Western Australia that have used mod wood and are durable. • Paving and stones - stones from the Victoria River bed LOUVERS • The the National Trust Burnett House in Darwin, is built off the ground and survived cyclone Tracey. The walls through the house and doors don’t go quite to the floor. Ceilings are pitched but walls don’t go all the way up to the roof so there is breeze through the house.
The national trust Burnett house, Darwin
2.6 PRECEDENTS CHRYSALIS CHILDCARE CENTRE / COLLINGRIDGE AND SMITH ARCHITECTS AUCKLAND, NEW ZEALAND REFLECTION I love with this exemplar is how Maori cultural and spiritual values of the area have been integrated into the design, without it becoming overly tokanistic. The other element that struck me about this design was the focus on outdoor space and how the actual shape of the building maximises its opening onto the external areas. I also find it beautiful that the as site is dominated by two heritage trees with root systems and drip-lines that must be protected, the actual site was respected and celebrated in the design. The creates a void around the trees, which protects their root system.
Integration of cultural references The building represents Papa (earth mother) who was locked in a tight embrace with Rangi (sky father), and so the curve of the building appears like two arms reaching out to the sky. The sail forms around the building are also based on traditional Maori sail forms but honour cultures of New Zealand, whom originally made the journey by sailing boats. The layered effect of the sails also recalls traditional carving patterns whilst the colouring and curve of the building represents the Koru or unfurled fern frond.
SUSTAINABLE DESIGN ELEMENTS Kitchen is at the centre of the building open to two classroom and the main reception engaging children in the preparation of food and creating a hub for parents. The classrooms overlooks the playground through large glass sliding doors to ensure full indoor-outdoor flow and views. All floor plate depths have been kept to ideal standards for natural light penetration and along the spine of the larger rooms are full height vertical windows to maximise natural ventilation.
2.6 YOUTH CENTER IN NIAFOURANG SENEGAL, AFRICA FRIENDS OF NIAFOURANG
AFRICA
SENEGAL
The Youth Center in Niafourang, Senegal was built and managed by Hilde Huus-Hansen, leader of the non-profit organization Friends of Niafourang, and three architecture students from the Norwegian University of Science and Technology. It includes a computer room/library and a larger multi-purpose room, and has improved conditions for local youth and create job opportunities in the village of 300 inhabitants. People from the entire village partook in volunteer work to help with the build over 10 weeks, contributing to a sense of ownership. The only electrical devices used were a battery powered drill in its construction. The students being so involved with the future uses of the building made them aware of the consequences design decisions in addition to making the work meaningful. Participants were also trained in the maintenance of the project.
I feel that the simplicity in the plan makes it so successful for this particular villiage. On their facebook page1 they noted that 4 years after the Youth Centre was built that it has become an active cultural building in the village, even hosting the villages first music festival. I think that its truly incredible how a building this simple can accommodate local traditions, strengthen the existing ones and create solutions for adolescents who value education but have not had proper access to it. The project refelcts the distincÂtiveness of the region with use of local construction techniques and materials. Plan
Elevations
1 Facebook.com. 2020. Project Niafourang. [online] Available at: https://www. facebook.com/projectniafourang/
Section
The roof extends to include a second floor outside the walls of the multipurpose room, accessible by an outdoor ladder.
CONSTRUCTION DETAILS
The corrugated aluminum roof juts out beyond the walls to prevent rain from entering the building and creates shady areas.
Wood from Ziggunchur and 20 custom-made steel brackets and bolts from Serrekunda for the roof construction.
Walls made from 3790 soil-blocks of compressed sand dug up near the site and cement, produced using a local block-press.
Underneath the protruding roof, a concrete belt surrounds the building creating a shady platform.
Windows are positioned low on the walls with deep frames, so they can be used to sit in.
Angled wood planks serve as blinds, preventing both rain and direct sunlight.
Ladder to second level - allows for youth to take ownership over this area.
Window frames become seating areas.
Design intent articulates with the elements (such as light, wind, rain and heat), referencing visual and tactile cues within the environment.
Ledges to place personal items - furniture becoming part of the permanent construction.
Size of space has been considered with capacity in mind - realisation that the building would be used by not only youth.
WEEK 1 70cm holes dug where the walls are to be placed. Water from the rice fields is close to the site so they had to ensure the foundation would hold. All the steel for the columns was pre-prepared before pouring cement.
WEEK 3-5 Walls rise approximately 60 cm every day. They talked about it being exhilarating being able to stand inside rooms that they have designed. They talked about how they were planning and building at the same time, locking down some ideas into physical form, while leaving others for further planning.
WEEK 5-7 The soil-pressed block walls are in their final stage. Transporting sand into the buildings foundation to fill approximately a half meter of the buildings 196 m2 foundation. A tractor transports 3 ton loads from 2 km away and dumps them close to the building. The tractor can’t get closer than 100m without sinking into the sand, so 75 tons of sand had to be manually transported via buckets and wheelbarrows.
WEEK 7 - 10 Wood arrives from Ziggunchur for roof construction - extremely rough cut wood with no two planks of the same dimensions. 2,5 cm apparently means anything between 1,5 to 4 cm. One of their helpers shrugged and recited a well rehearsed lesson, “This is Africa.”
2.6 CHIGWELL CHILD AND FAMILY CENTRE TASMANIA, AUSTRALIA SCOTT AND RYLAND ARCHITECTS, IN COLLABORATION WITH MORRISON BREYTENBACH ARCHITECTS
Location is surburban but the site is bounded by the River Derwent and Mount Wellington. These views are taken advantage of within the family centre to help enhance the sense of place. Centre came out of conversation with the community for a need for the centre in Hobart’s Northern Suburbs. The community wanted further education and care of children between 0-6 years of age and their families. The architects met with Local Enabling Group throughout the design process to shape the design response. They helped with site selection and concept design, and project completion over 2 years. The group also participated in tours during construction to assist in decisions of fitout.
Images retrieved from 2020. 2013 Exhibition Of School Planning And Architecture Chigwell Child And Family Centre. [ebook] Tasmania. Available at: <https://exhibition. a4le.org/2013/pdf/Chigwell.pdf> [Accessed 1 April 2020].
Scope with security of sleep nests, cubby nooks, and tunnels juxtaposed with the larger communal areas.
User-friendly scale is welcoming, comfortable, engaging and accessible. Kids free movement (running, climbing, sliding). Play equipment becomes structure.
Homely interior with ample daylight, natural timber, and lively colour, creates a high quality, fresh and healthy atmosphere.
Range of scales and level changes to define areas.
Partitioning is possible for smaller activities
Folding doors to merge indoor and outdoor play spaces. Play nest sunken section allows for parents to gather with kids on the floor, for babies to roll around and for pre walking babies to navigate along the edges.
ARCHITECTURAL FEATURES
SUSTAINABLE DESIGN • Energy efficient – passive solar, double glazing, insulated thermal mass • In floor hydronic heating with reverse cycle heater • Solar hot water system • Natural light • Cross ventilation • Low maintenance finishes – no formaldehydes or volatile organic compounds • Rain water captured – toilet and garden • The building utilities recycled timber in the cladding and structure
https://www. strongfamiliessafekids. tas.gov.au/servicedirectory/child-andfamily-centre-chigwell
SERVICES
Programs addressing exclusion
Family finances, planning, support and help with family violence.
Financial information and/or support
Physical and mental health support
HOW SERVICES ARE DELIVERED Advocacy
Job seeking and employment, transition, and mentoring training.
Housing
ACCESS TO SERVICES To access the service, clients must live in Glenorchy City
Support Services
Coordination of Services
Free of cost Computer literacy
Personal safety against all forms of abuse, neglect or exploitation.
No referral required Cooking classes
Baby massage
Information, Advice and Education Social exclusion Parenting courses Breastfeeding
Outreach services including mobile library services.
Housing and homelessness
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KEY PROGRAM Informal Areas for Users Formal Areas for Users Play Space Areas for Kids Outdoor Areas High-Level Socialisation Zones Sight-Lines from Parents to Children
1. Entrance 2. Training Room 3. Play / Movement Spine 4. Lounge 5. Kitchen 6. Play Area 7. Meeting Room 8. Office 9. Staff Room 10. Laundry / Store 11. Community Shed 12. Carpark 13. Undercover Deck 14. Outdoor Tables 15. Playground
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GREENS - TRANSITION YELLOWS - STAFF PINKS - CHILDREN BLUES - COMMUNITY
Patterns emerge within the open plan when seeing how spaces are laid out and their proximity to one another. Play spaces are in the centre of the building including the mezzanine play spine are in direct contact with both staff and community areas so that parents are able to monitor kids and have visual connection with them as they play. I think this will be integral in our family centre such that parents may interact with one another in a genuine way to help increase family interaction as they can know that their child is safe.
Top: Direct view lines from parents to kids Bottom: Sense of place is enhanced by views to the River Derwent and Mount Wellington
INTERNAL PROGRAM
OUTDOOR PROGRAM
Dedicated Circulation/ Thoroughfare Spaces
Undercover Area Garden Open Grass Area Open Play Area Car Parking
WINDOWS AND LIGHT
TYPES OF PLAY IN KIDS SPACES
Windows
Nooks Communal Individual
2.6 ROEBOURNE CHILDREN & FAMILY CENTRE ROEBOURNE, WESTERN AUSTRALIA IREDALE PEDERSON HOOK ARCHITECTS
WHO AND WHERE? • Main user group is the local indigenous community thus similar contemplations can be made • The location is also remote and of a similar, quite arid climate POSITIVE ARCHITECTURAL FEATURES • Emphasis on way-finding and place making features • Under crofts where there is shade for outdoor areas • Window heights appropriate for young children • Separation of spaces to allow activities to run at the same time • Hidden entrance for private counselling services. NEGATIVE ARCHITECTURAL FEATURES • Interior lacks a sense of place in terms of cultural elements that may help to encourage a sense of familiarity in locals when they visit • Lack of furniture • Lack of children’s entertainment features • No built-ins
2.6 ACT CHILDREN’S CENTRE QUEENSLAND, VIC, AUSTRALIA M3 ARCHITECTS
WHO? • Wasn’t design for indigenous clients specifically but for kids that are suffering various sorts of trauma and familial problems POSITIVE ARCHITECTURAL FEATURES • Provides an inner sanctum which is a series of therapy rooms – successful example in terms of plan • Shaded areas by undercover rooftop/ concrete canopy that undulates providing additional exterior spaces for kids and for people attending therapy rooms, depending on weather • Form creates opportunities for increased
privacy considering multiple entrances for therapy rooms • Therapy rooms have a variation to them • Modular façade system which could have brought cost down • Beautiful windows with lots of light • Narrow areas to narrow paths to create well considered view lines allowing for pockets for kids to claim as their own. • Interiors include heights appropriate for kids with seating nooks. • Well considered in every aspect to work out what a person is feeling like as they move through the space if they’re in a vulnerable position – building creating a
sense of gravitas almost like being in a womb like space NEGATIVE ARCHITECTURAL FEATURES • Expensive build in terms of finishes • High embodied energy in its build and material selection
2.6 TAIKURRENDI CHILDREN’S CENTRE JPE DESIGN STUDIO CHRISTIES BEACH, SA
WHO? • This project is for aborigional families in the community. POSITIVE ARCHITECTURAL FEATURES • Consultation with community and what they wanted • Multiple entry points to cater for avoidance of others when walking into consulting rooms. • One consulting room had a discrete access point so people don’t have to go through main reception to enter it • Using screening instead of full height acoustic walls - complete separation from others overhearing them. • Multiple pathways throughout building for wayfinding • Clear focus outside the landscape space - pulls on dreamtime trails in local area and creates pockets for cultural learning. NEGATIVE ARCHITECTURAL FEATURES • Internal finishes are clinical which may point towards some sort of restrictions as to what the budget allowed for. • Landscape as more responsive to cultural aspects of community than the building itself which became more program driven
2.6 MENTAL HEALTH SPACES THE THERAPEUTIC WAITING ROOM: THERAPIST AND SERVICE USER PERSPECTIVES ON THE PSYCHOLOGICALLY SUPPORTIVE DIMENSIONS OF ARCHITECTURAL SPACE STEPHANIE LIDDICOAT
INTERPERSONAL RELATIONS WHICH ARE THREATENING In the period of time preceding a counseling appointment, when anxiety levels are high, relations with other service users were particularly intimidating having oneself viewed and identified, having one’s personal space violated. SENSORY MODULATION Activation and engagement with the physical environment is empowering and helps them to remain present and regulate emotions. Sensory modulation affects their inhabitation of (and potential triggers contained in) all environments
APPLICATION • Not having items of personal significance to the staff working there on display - separate office. Include items that suggest care such as artwork and nature • Privacy in the waiting area - use of screens • Audial privacy - wait rooms separate (not overhearing another service user’s conversations) • Variety of environments of care • Provision of a space for pacing, for individuals who elect to reduce their anxiety in this manner - open spatial arrangements to permit this level of movement • Views to nature - kids and higher eye level people sitting and standing • Space to sit on the floor
SPACE ACTING AS SYMBOLISM Spaces which more readily prompted modification or interaction facilitated a higher degree of self-reported spatial freedom by the service users. Such spaces allowed them to mitigate feelings of stigma and experience increased feelings of agency, which was found to enhance self-reported therapeutic outcomes and experiences. An extended journey to the facility and arrival sequence can affect service users’ perceptions of privacy and their fear of being identified. Inclusion of natural content in the approach/entry. People who are going there are looking for reassurance straight away. Having spaces which were “barren” or limited in their variety of materials served as a punishment themselves, by being devoid of stimulation
APPLICATION • Manage lines of sight so that service users never feel on display in waiting areas - Waiting area that allows for private pockets • Minimise physical segregation between waiting and reception areas • Variety of materials and textures that minimise typological associations to clinical environments • No visible presence of security features/signage/labelling - increases service user feelings of otherness and difference • Provision of audial and visual privacy lines of sight/access/sound proofing.
REFLECTION In terms of thinking about the final design, I asked myself with which buildings do I feel a strong connection? A building whereby the experience is heightened by being in the place? Or a building that is able to facilitate activity, and thus help to create a connection to place? Is it about being in spaces that make me think? Or is merely about being in a space that makes me feel comfortable? Maybe there a connection when I can tell that thought has been put into how the place is intended to be experienced. Or maybe itâ&#x20AC;&#x2122;s about creating a space that allows for its users to adopt their own function and intent? Even asking questions like what are the spaces that make one feel alienated? Perhaps in spaces that feel extremely clinical, and donâ&#x20AC;&#x2122;t have a human touch. These are the kinds of questions I was asking myself as I was thinking after the family centre research. I think that it is important that I try to ask these questions in the context of the family centre and why is it being built. How might those who will actually be using the family centre feel if they were to ask these questions. As it is somewhat difficult to ask these questions directly to them, as we are unable to visit the community, its more integral than ever that I try to come from an open and empathetic point of view when it comes to the final design.
APPLICATION • Therapy rooms could be slightly varied in Kalkaringi so that clients can choose most appropriate one for them and what meeting is about • Access to shading which is essential for outdoor spaces in Kalkaringi. • Integral to providing exterior spaces that are able to accommodate different uses happening at the same time – one area could be a more open plan for social activities, with hid-den perhaps pockets that back out from therapy rooms an extension of building itself, hid-den behind a in desert garden. • How might the design communicate that this is a safe space for people to reach out – is it through the sense of permanency of the building? Or through the feeling of direct connection with the landscape upon which it sits? • Place for kids - allowing for children to be able to claim spaces as their own such that they feel welcome. • Privacy is an issue - one big open space does not necessarily lend itself to the cultural considerations that need to be taken into account within the community.
3.0 FINAL DESIGN
3.1 SITE
As we were unable to visit Kalkaringi this semester, I looked at photos from as close to our site as I could find taken by previous Bower students to get a sense of the context. One of the things that I thought was that the road beyond isnâ&#x20AC;&#x2122;t visible due to how flat the land is, unless there was a car going past on the freeway. So this encouraged me to think about how the building in the distance might be read in the context of the landscape. Even though our immediate surrounding site is future build so it could be important for us to think about how might it be read as a stand alone building and also one that could be surrounded by houses in the future.
This photo was taken from the oval looking towards the health care centre in the distance, so thinking about how the Family Centre will sit in this health and family precinct. Photo taken by Bower student 2019.
FAMILY CENTRE SITE
Site plan showing the surrounding landscape of Kalkaringi.
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200 m
Creshe next to the oval with the playground. Photo taken by Bower student 2019.
Creshe next to the oval with the playground. Photo taken by Bower student 2019.
3.2 CONSULTATION
The types of informal conversations that can happen in person, vs over zoom.
The consultation process was integral to the coming together of my overall design. When we were developing the designs at the beginning of the design process, we first had a discussion with Phil from the community before we showed Taysha our diagrams. This was helpful because we were able to get an opinion from someone who has invested in the community, and perhaps could give us some hints on whether or not our direction was appropriate. PLAY SPACE However I also learned that no one, even those who are close to people in the community can hypothesize how another individual might respond. For example when Taysha saw the diagrams to the right that were inspired by the Chigwell Precedent, her response was that in order to create a sense of belonging in the centre for people, they must feel welcomed in the space, and these diagrams showed too much play space such that she felt that they looked more like a cresh. However she did mention that play area in the building is essential, however it needs to be located to a specific area and not in-built like in Chigwell.
INTEGRATED PLAY POCKETS
ELEVATED EXPLORING
PASSIVE SIGHT-LINES
This diagram refers to the importance of kids having separate play spaces to their parents. This means that if parents need to be involved with business which is perhaps more serious or not directly involving their kids, their children will still have inviting nooks that are of a childâ&#x20AC;&#x2122;s scale to be entertained and stimulated.
This diagram refers to having integrated joinery pieces that engage a type of play that is appropriately challenging for the younger age groups, engaging their creativity, imagination, dexterity and interaction with one another.
This diagrams is referencing the importance of parents having continual visual connection to their children at all times as they play and allow for passive supervising. This may create a sense of ease and comfort in knowing they can keep their children safe while they play independently. This would perhaps also encourage parents to interact with one another in a genuine way to help create relaxed social spaces.
My diagrams inspired by Chigwell Family Centre by Morrison & Breytenbach Architects - only the sunken nest pictured above used in final design, not integrated play
Below is a digram that David drew over the Chigwell plan in order to suggest amendments that could be made in response to Tayshaâ&#x20AC;&#x2122;s concerns about the layout of spaces in this precedent. This enabled a discussion surrounding relationships between parts of project, and encouraged Taysha to think about these sorts of diagrams as not a building at this stage, but just a resource to think about how these spaces might interlink or what spatial relationship are good and bad.
Consultation - Davidâ&#x20AC;&#x2122;s Drawing over plans to understand how spaces might be modified/overlapped to suit community needs.
REFLECTION Over the weeks, I have realised just how important the consultation process is. I have realised that through consultation the design will change drastically, and thus not having emotional attachment to any ideas is integral in the initial design stages. This is important because it will not only help to gain trust in the client because they can sense if you are responding to their wishes, but will result in more effective consultations later on due to this gained trust. I also realise that it is helpful to make suggestions or amendments to an idea that is perhaps not sitting well with the client. In the consultation process, one has to work oneâ&#x20AC;&#x2122;s way into it. Perhaps in seeing the diagrams she was envisioning an architecture that facilitated these kids running around and treating the building as play equipment, which is completely okay and us as the designers must take this on board and adjust the design accordingly.
SECURITY Taysha was also concerned about security and how the centre would cater for this. She discussed how there needs to be a sense of passive surveillance from the staff to the people entering the centre.
Too many doors are too hard In terms of security.
APPLICATION Quitaysha - not just having one facility but having it all spread out, could really work. Multiple entrances - depends on what program each of the buildings have. Main entrance with office space/ computer hot desk? By connecting different functions of buildings together this might determine the number of entrances needed.
How rooms could work where fear might Two buildings might be more appropriate. not be there? How would people feel about going into rooms? What shaped rooms?
REFLECTION (QUICK THOUGHTS) • Easy to forget that we’ve been working on the project/task for weeks and it’s the first time Taysha has seen it - sometimes the information does not align with what she was expecting and its about how to feed this back into the design. • Good to follow up to give the client time to consider ideas • Asking the client open ended questions - “what do you see in this page?” • Reading others in the space is how we operate? • Perhaps having presentations that are not so formal and more casual to provide a gateway to dialogue. • Complex ideas - how to walk someone though this? Different ways depending on who they are? • Passing information to the client in advance to give them a heads up on what the discussions could be related to. • Complexities that come with asking someone what sort of environment they would like to be in - can also ask what do you like or dislike about this image? • If the conversation perhaps is veering off course, can bring it back to the question - What it is that we are seeking back from the client. Explain why we are doing what we’re doing.
DIVIDING SPACES Possible value of dividing up the spaces so that different activities can occur simultaneously, which is important because of the wide range of users. Engaging in different activities that might be occurring at the same time. The Roeburn family center has separated the center into 2 buildings so that activities in each donâ&#x20AC;&#x2122;t necessarily interfere with each otherallowing activities to run simultaneously.
CREATING OUTDOOR AREAS Buildings that frame and hug the outdoor spaces. Up to people to decide how they will use them so that the outdoor area exists. A space like this might be used for youth groups to be playing sports games or mums and bubs have meetings outside, or the possibility of film nights. Having the outdoor areas happen between buildings is more informal and loose way of allowing activities to happen rather than between 4 walls of a room.
SHADED PATHWAYS Possible importance of having shaded linkways between buildings to protect from sun and help create outdoor spaces that are places people want to stay because they wont be in direct contact with sun. Shaded pathway between - it can be an interesting design feature.
Diagram drawn by Sarah Fearn-Wannan Separation of spaces
Diagram drawn by Sarah Fearn-Wannan Creating Outdoor Areas
Diagram drawn by Sarah Fearn-Wannan Shaded Pathways
SHADE Taysha spoke about how she and other members of the community like dappled light like under trees, which is the way Bower previously used the perforated steel on the sides of the walk off pavilions. The way the sun moves through the sky means the shadows change. Two layers of steel together so that the shadows come through the two screens so that different shadows come through. Taysha told us how went out on a school excursion for a leadership course, they sat under there and had some lunch and told us it was perfect. The Wave Hill Walk Off Pavilion by Bower Studio - Dappled Shade. APPLICATION Ensuring that there are outdoor spaces with dappled shade for big groups of people vs smaller areas for the more private functions. Separating the center into 2 or 3 buildings so that activities in each donâ&#x20AC;&#x2122;t necessarily interfere with each other - allowing activities to run simultaneously. Roebourne Family Centre Precedent by Iredale Pedersen Hook Architects - Shaded walkways
APPLICATION Implementing in the design permanent outdoor elements for kids to jump around and play on, as well as nooks for people to escape to before, after or during their consultation. These nooks help to creates a sense of joy even through they might be dealing with serious issues with their families. The curving paths are another strategy that if you’re in the consultation room in there you can look out but others cant see in.
CURVING PATHS TO CREATE JOURNEYS AND OUTDOOR ‘HIDEAWAYS’ Making people feel safe in consultation rooms that people might not otherwise want to enter. Allow kids to feel ownership over space. By having buildings separate they created weaving paths through the gardens which means people don’t know exactly where you’re going, which is good for parents who are talking about confidential things. People can enter the consultation room however they want without people wondering what they’re doing. Pathways frame areas for kids to play in and create areas of sanctuary.
Consultation rooms and how they are in a separate bubble in their own spaces to help ensure people feel secure and safe and far enough removed from the rest of the activity of the family center that they feel okay to open up.
ACT for Kids Family Centre Precedent by M3 Architects
Diagrams above drawn by Bronte Scott - Curving Paths to create journeys and outdoor ‘hideaways’
DREAMING STORY Towards the end of the semester we had a very exiting moment where Taysha gave us insight into a Dreaming story that is significant in the community.
APPLICATION
Symbols or colours or sugnage that might make the family centre fit in kalk more clearly - would it make people feel like its part of thir space. â&#x20AC;&#x153;We have the Karungkarni hills that sit near the river behind the arts center. Kalkaringi is a very special place and there is significance of the hills for mums and bubs - Karungkarni means children. The significance to that hill is that itâ&#x20AC;&#x2122;s the dreaming place for babies. The hill is a spiritual place where if women are having trouble getting pregnant, they go up their with older women and go through a spiritual process, where the old women sing and rub the belly of the younger women.â&#x20AC;? - Quote from Taysha
Karungkarni Hill with the rock protruding on the slope just below the tree - Photo sent by Penny
Using Natural tones and textures from the earth in the Design would reflect significant local places, such as the Karungkarni hills that sit near the river behind the arts center. As we were told by Taysha that these hills are a dreaming place for babies, and thus the spiritual connection that mothers might have with this hill is reflected in the earthy colors and views out to the surrounding landscape. Translating this into the centre, there are dedicated areas for kids to play in, facilitating space where they can grow and develop amongst the safety of their families. Thus I have incorporated the story into my design in a more subtle way, by including something around the children and colors that are of the hill - earthy colors such as maroon, brown, greens, and ochre colours. Finding the colors and textures such as red ochre (the old ladies rub this on women), is important for the family center.
Screenshot of an email Penny sent through explaining a similar story, however told in a different way by a different woman.
REFLECTION
Map showing where the Karungkarni Hill is in relation to Kalkaringi.
After hearing the story from two different women in the community, I realise that it is a privileged to be able to hear Dreaming stories such as these - perhaps Taysha chose to share it with us towards the end of the semester, possibly because by then we had more of an established connection. I also realize that it is important that these stories are kept private and are only told by those whom the story can be told by in the community.
REFLECTION I realized over the course of speaking with Taysha, that I changed the way in which I consulted with her over the semester. At the beginning I feel I had a tendency to want to over explain everything to her which perhaps was overwhelming and did not encourage the most effective dialogue because she was absorbing all of the information. I also tended to ask questions at the end of the presentation, which was not as effective because it meant she had to try to remember everything I spoke about. A better way to conduct consultation is by showing an image and talking about it briefly to then immediately inquire into Taysha’s thoughts and feelings about it. This generates much richer dialogue and it not as stressful as trying to ‘present’ something. It also allows for the direction of the conversation to flow in a much more organic way which is integral to creating genuine connection. By the end of the semester, I enjoyed the dialogue very much as I felt we had established a good bond whereby Taysha hopefully felt comfortable to discuss what she was thinking.
Kalkaringi Shade and Earth - Photos by Jamie Niel
APPLICATION Taysha mentioned that play area in the building is essential, however it needs to be located to a specific area and not in-built like in the Chigwell precedent as it needs to feel like a family centre and not a cresh. She mentioned having less integrated play, such as Soft rubber mats, a little slide and swings outdoors for kids to play in which I will integrate into my design. As part of my design, We owe it to the kids to ensure a building isn’t a sterile type box - what degree you play that game. This was very helpful to hear what Taysha was not looking for in the family centre, as it helped narrow down the vision of what she felt it could look like. It was integral that we asked open ended questions to allow for this type of discussion to take place. Throughout the design process I tried to ensure I continued to ask these open ended questions instead of ‘yes or no’ answer questions to gain a response that is authentic and genuine. Some sort of definition that this is a space that contains separate areas for men and womem, such that divisions become more blurred. Its so important to not impose one’s own cultural framework, and instead take as much time as you can to listen to the Indigenous people with whom you with working with and take their cultural framework on board at every opportunity. Motto - strong families, strong culture, strong leaders. Through the Family Centre we want to strengthen families back together. At this point Taysha said she doesn’t really see this is Kalkaringi - vision is to HEAL. Ensuring that if there are multiple doorways in and out of spaces, that these are contained within another overall lockable area to ensure security.
APPLICATION In my design I tried to consider the value in having larger shaded areas so that they can still support outdoor activities to happen. Taysha also mentioned that at the back of the family center she could see sheds being made for people to inhabit - the family rooms could manifest themselves through the notion of separate sheds that share the one overhead roof? Does the big space need to be undercover have shade the whole way? To have some shade is good it gets really hot - partially shady and partially not. Perhaps also considering movable shade - people could be there or not? Taysha also mentioned wanting to have one big space where there is a BBQ facility that brings everyone together in community, while narrow spaces could put them to good use by working in with the more private functions of the center such as when people need to use centrelink. â&#x20AC;&#x2DC;Working for dole programsâ&#x20AC;&#x2122; in remote communities and using family centre for employment purposes and creating opportunities for community members. Taysha very much liked the look of the Roeburn precedent in terms of materials and walkways that are in budget - I will consider using materials that are the same sort of textures and tones to these, but that also resonate with the landscape of Kalkaringi.
Overlapping Arts Centre Door design, taken by previous Bower Student 2019.
3.3 CONCEPT
COLORS AND TEXTURES OF KALKARINGI Taysha spoke about the importance of including earthy colors such as maroon, brown, greens, and ochre colours in the design. This was integral for my material palette.
All photos on this page by James Neil.
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1. Photo by James Neil, Screen Design. 2. Castell de Sant Joan (Sant Joan Castle in Lloret de Mar 3. OKE in Spain by aq4 arquitectura 4. Photo of Kalkaringi Arts Centre Door design, taken by previous Bower Student 2019. 5. Kunshan Visitor Center in China by Vector Architects
APPLICATION SCREENS My design addresses the use of screens through landscaping and screen patterns inspired by these inspirational images, to allow for avoidance relationships, privacy as well as dappled light. See more information in ‘Cultural Learnings, Privacy’ section. The screens also address Taysha’s concerns regarding the family pods being separate from the rest of the building, in reality the building is part of it they all work together.
APPLICATION KARUNGKARNI MOTIF The inspiration for this Family Centre is based on the thinking behind the Karungkarni motif, and what it might mean for Gurindji families. This could be a Family Centre that is like the two parts of the motif coming together, and working in mutual support of one another. The aim is to create a place that nurtures the community’s needs. Also in the symbol is this centre piece that is helping the two parts link, so I thought perhaps in the building there could be a device that links the two parts of the centre. This could be by using landscaping, layered screens and pathways through the central part of the centre. This motif seems more reflective of what I am trying to create through the community center, compared to the Gurindji Aboriginal Corporation Logo, which through our discussions in class we feel represents a top down approach of the ‘Indigenous man’ being privileged enough to receive something from the ‘white man’. FOOTPRINTS Taysha spoke about the significance to baby footprints, also as a meaning for the walk off. She said that there are lots of footprints on posters in Kalkaringi so they are a symbol for Kalkaringi itself.
APPLICATION FAMILIARITY I used a very similar style of screen in my final design (specifically around my consultation rooms) to that of the Arts Centre. This was intended to connect the Family Centre with pre-existing architectural features that are already in the community in order to help the design integrate better into the town. The feature I especially liked was the 140mm horizontal sight band that is placed at eye height. I incorporated this to make the family rooms feel less like a cage aswell.
Photo by previous Bower Student, 2019.
APPLICATION
APPLICATION
WALK OFF STORY
SHADE
The walk off story ties into the broad narrative of the building as it is important for everyone in the community.
Shade is a huge component of any design in the Northern Territory. This incorporates the elements of how trees work - the outside space it brings, the cooling, shade and light it allows through the tree is essential. Casting shadows and allow things to stay in the shade underneath. In my design I have done this through the perforated screening and the large eave structures that overhang the family rooms and the main building.
As families move through the centre, they might choose to retreat to the little outdoor pockets to sit and chat with one another in the comfort of dappled shade. They may sit on the integrated seats throughout the design. This is important not only to facilitate Gurindji familiesâ&#x20AC;&#x2122; journey through the family center, but also to cater for the fact that there are poison relationships, clan groups and cultural reasons why people will or wonâ&#x20AC;&#x2122;t sit together. The seats allow for a variety of options for people to choose where to sit.
3.4 DEVELOPED DESIGN
SOUTH-WEST VIEW
APPLICATION - DESIGN JUSTIFICATION CULTURAL UNDERSTANDINGS • The community could be given tasks to do on the project such that they feel more involved and have ownership of the project, resulting in a more equitable design. In my final design there is a balance between bringing in pre-formed concrete block walls and steel formed outside as part of structure for efficiency sake, and then a component that the community are involved in assembling together with Gurindji Corporation such as the brick BBQ and murals from local artists on the walls. Although the cement is a large polluter and is expensive to truck it in, it is worth installing because of its durability and robustness. • Incorporating further ownership in the building has been fostered by incorporating murals from Karungkarni Arts that Gurindji artists can paint themselves. This may help the building be more tied to the community in a way that is meaningful for them. • There are multiple entries and exits in the family rooms, in accordance with Stephanie Liddicoat’s paper ‘The Therapeutic Waiting Room: Therapist and Service User Perspectives on the Psychologically Supportive Dimensions of Architectural Space’ - having two entries and exits means that people are less likely to feel trapped in the space and possibly more comfortable opening up about difficult issues. • The family rooms are contained within one external space, and with 2 gates on either side that are lockable so that you can then access the consultation rooms within this enclosed space. If you unlock these gates the rest of the consultation rooms can then remain unlocked during times when they are running, so that the people running the family centre you don’t need too many keys. This alleviates the concerns that Taysha had regarding security issues in these separate family pods. This also means that the consultation spaces are more safe and are protective spaces. • Screens are incorporated on the exterior as well as the interior of the building such that the large mutipurpose room can be partitioned down into segments depending on the community’s needs in the space.
EASTERN SIDE
APPLICATION - DESIGN JUSTIFICATION CULTURAL UNDERSTANDINGS CONTINUED • Taysha mentioned the centre as a healing space for all demographics, and there are spaces for all men and women and youth to occupy, meaning that all of the people who visit have ownership over spaces to entice a range of people to go. • The layout of spaces is such that avoidance relationships can be catered for - for example having a male and female bathroom on separate sides of the family centre means that mens and womens business may remain separate and private from each other. • As the computer/library/kitchenette space to the northern side of the site is open to the community at all hours, while the multipurpose room might be locked, there is an extra male bathroom in this space with entries not visible to one another, such that this space can be used independently to the rest of the family centre while respecting avoidance rules. • The fact that there is a staff office near the entry means that security and passive surveillance is maximized for these areas - a concern that Taysha has mentioned, especially since when in the office, staff have sightlines to the carpark so can see who is coming and going from the family centre. • There are numerous wide pathways that people can take on their journey through the centre, meaning that people can not only get to the entrances in ways that are comfortable for them, but have the opportunity to avoid people who they are not able to associate with. • Taysha mentioned that there cannot be too many play areas in the centre as this would compete with the creche, which I have addressed through creating one dedicated play nook with a small playground/jungle gym off from the BBQ area to allow kids to remain entertained without the family centre detracting from the creche opposite. • I was told my by peers and tutors who visited Kalkaringi that people frequently gathered outside to yarn or play cards together the BBQ area spills out directly onto the landscape to allow for these informal outdoor experiences to occur.
NORTHERN SIDE
APPLICATION - DESIGN JUSTIFICATION MATERIALS AND ARCHITECTURAL COMPONENTS • In my final design the family rooms have top hats which use the heat that would occur naturally in the rooms to create a chimney effect, while allowing breezes through to allow for passive cooling. • My design has thermal mass as all of the slabs are exposed concrete on ground, which has a great cooling effect, especially since the large eves mean that the concrete is in the shade. • I have large eaves over my roofs in order to provide shade to the thermal mass of concrete beneath as well as shade the windows on each side of the building to keep the inside of the family centre as cool as possible • My design uses robust internal materials aswell on the ceiling and wall linings, such as 12mm thick compressed cement sheeting and 16mm thick plywood. The plywood is placed on top of the 300mm thick concrete slabs so are out of reach of termites. • I have weld mesh/perforated screen in front of all of my windows or openings for security, as well as only using polycarbonate and acrylic, completely eliminating the use of glass. • I have landscaping around my building that allows for the breeze to come through, but for the dust to be filtered so that not so much comes inside. • I have used mod-wood on my seating around the family center such that the seats are durable and can survive the temperatures/are termite resistant. These seats also have screens behind them, which I have covered with polycarbonate as a seat backing to prevent people from burning themselves on the screen when it heats up in the sun. • I have included operable acrylic louvers to allow for cross ventilation to permeate through the spaces to cool them - this is integral as only the computer room is air conditioned, meaning that maximizing passive cooling in the rest of the family is critical. The louvers are operable such that people can choose when to open them to reduce the amount of dust coming into the family Centre.
ENTRY
• Any openings in the Family Centre (including louvers, windows and doors) are make from polycarbonate meaning that individuals can still see through them when they are closed, allowing for a sense of connectedness to the outdoors without sacrificing security. • The youth room and family mums and bubs nook pop out on this side as it is facing south - eves provide shade to these areas throughout the whole day. • I have included integrated seats around each side of the family centre to give people lots of choice as to where they sit - this means that avoidance rules can be complied by wherever someone is outside the family centre. These seats are surrounded on the sides with perforated screens, which give privacy so that the people sitting in them can look out to see who is coming to the family centre, but cannot always be seen, in accordance with David’s ideas about ‘seeing but not being seen’ • Corrugated Iron cladding is used in reference to the Wave Hill Walk Off Pavilions, the huts at Wave Hill Station, and is a material that Taysha mentioned the people of Kalkaringi very much like and is familiar to them. The aim is to use familiar materials such as this, in order to help illicit a sense of comfort in the family center and to help it integrate in with the community. • The use of polycarbonate (differing opacities) again contributes to the varying needs fro privacy and has the ability to abstract objects behind. • The use of all of these materails together means that the family clinical does not have a clinical aesthetic, which is something was important to avoid in order to make the spaces feel comfortable and not institutional. • The shape of the roof forms are not only meant to indicate architecturally the different functions of the family centre (in relation to the Karungkarni symbol with the idea that the two buildings are mutually supporting each other), but also cater for the exact functions that occur beneath - eg. stack ventilation with the family rooms/curved roof acting like a cocoon for privacy stretching over the pods vs the great expanses of roof that sweep over the large multipurpose/computer areas that sit as integrated angles in the landscape and allow light into these spaces.
WAITING AREA
MULTI-PURPOSE ROOM
MUMS AND BUBS NOOK
INFORMAL OUTDOOR SPACES
BBQ AREA
FAMILY ROOM
LIBANANGU ROAD
SECTION
P
F
WHITLAM STREET
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Check all dimensions and site conditions prior to commencement of any work, the purchase or ordering of any materials, fittings, plant, services or equipment and the preparation of shop drawings and or the fabrication of any components.
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Do not scale drawings - refer to figured dimensions only. Any discrepancies shall immediately be referred to the architect for clarification.
A30.113
Drawn Project no.
Plot Date
Revision
Date
Description
Initial
Checked
All drawings may not be reproduced or distributed without prior permission from the architect.
Drawing no.
1 : 100 Author
@ A1 Checked
Project Number Here
Checker
Melbourne 1 Nicholson Street Melbourne VIC 3000 Australia T 03 8664 6200 F 03 8664 6300 email mel@batessmart.com.au http://www.batessmart.com.au
Sydney 43 Brisbane Street Surry Hills NSW 2010 Australia T 02 8354 5100 F 02 8354 5199 email syd@batessmart.com.au http://www.batessmart.com.au
Bates Smart Pty Ltd ABN 70 004 999 400
Project Status 17/06/2020 11:49:07 AM
Revision
TM
PLAN
14.
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12.
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10. 12. 11.
1.
KEY
13. 3.
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1. ENTRY 2. Reception/waiting room 3. Office
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4. multi-purpose area 9.
5. youth room 6. kitchen and lounge 7. mums and bubs nook 8. lockable area open after hours with kitchenette/bookcases/computers 9. Female toilet with nappy change table 10. Female toilet 11. male toilet 12. Family Room
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CONSTRUCTION DETAILS
APPLICATION - DESIGN JUSTIFICATION MATERIALS AND ARCHITECTURAL COMPONENTS • I have incorporated the feedback I received from the engineers at ARUP about rafter and purlin sizes that are suitable for this context and climate, as well as specific to my design. • This meant for example having rafters that are 310mm deep and spaced at 1800 centres as I have 2m overhangs over my family rooms which require these deep beams for support. This also meant having columns in the correct locations to support the overhangs. • My design also addresses the issue of radiant heat that may come with using a corrugated iron roof, as there is a lining under this of thermal insulation and sarking to reflect the heat and stop the radiant heat coming through. Sarking also prevents condensation from occurring in the ceiling void, then the fiber cement sheet under the sarking also acts as a thermal barrier. Sarking also is wrapped around the outside of the family rooms attached to lightweight metal studs. • The components that are specific to my design which are the screens, include 500 diameter by 600mm deep footings to secure the screens as well as attaching them back the columns that hold up the roof of the family rooms such that the seats and screens structures are completely incorporated. This will ensure that the screens do not blow off in the high winds.
4.0 EVALUATION
4.1 CULTURAL LEARNINGS
CHALLENGING CULTURAL NORMS Through the family centre we discussed with Taysha the possibility of challenging the cultural norms of the men and women. Initially we believed that we needed to abide by the cultural norms of men and women to help people to feel safe in the family center, however as we continued our discussions we realised that the vision could be to have a building that challenges these. We began to ask ourselves what barriers we can push to encourage different forms of interaction? Taysha mentioned that it was about addressing parenting being able to blur the traditional roles of men and women, as this is where architecture can take a lead on how people operate. Some further questions we asked were how do we make a room that helps both men and women safe in it together, or to
what degree are two rooms overlapping one another? AVOIDANCE RELATIONSHIPS Despite having the opportunity to challenge cultural norms in certain ways, it was also integral to understand why it is important to consider the different Aboriginal groups and how they are structured when working with Aboriginal communities. KINSHIP Kinship is about the social organizations that cover social responsibilities, roles and reciprocal bonds and determines how people relate. In my research I found that either people come from patrilineal nations where they take their line of decent from their father, or matrilineal nations where children take their line of decent from their mother. This means that one Aboriginal nation cannot just move to another Aboriginal nation - this is why policies
Indigenous Australia - Nations Map
and strategies that are developed to one size that fits all its not about different Aboriginal Identities, and instead talk about Aboriginal people as a whole. Its about local clans, family groups in the community and understanding local clans and nations to know who can work together. When I was wathcing interviews by Lynette Riley on Kinship, she discussed how kinship has existed for thousands of years and is at the heart of Indigenous culture. It is about respecting the kinship system.
Kalkaringi Eucalyptus Tree - Photo by Jamie Niel
PRIVACY I read a portions of David’s research paper; O’Brien D. 2011. Policy and reality: Patterns of everyday living in Darwin’s Indigenous ‘town-camp’ communities. Proceedings of the 5thAustralasian Housing Researchers’ Conference. Auckland, New Zealand. This paper was important for me to read especially since we did not have the chance to visit the community this semester and gave me valuable insight into cultural learnings. And started to think about Pattern #2 which was related to ‘seeing but not being seen’,
which formed some of the rationale behind Bower’s use of layers of perforated steel as a screening/filter. It’s important for people to feel like they have privacy and making it difficult for people to see into private spaces, while also being able to see views outside, such that there is a balance similar to the effect of leaves on a tree. IMPORTANCE OF PEOPLE BEING ABLE TO MAKE THE SPACE THEIR OWN In David’s paper, he also discussed how the common bedroom/house includes clearly
defined areas with furniture permanently placed in each, however in the plans of typical Indigenous households it was clear that ‘any room could become a bedroom or a living space’, and no furniture was necessarily set in stone.
‘DEMAND SHARING’ CULTURE I was first exposed to this when I watched Charlie’s Country, and then again in David’s paper I also read about how ‘demand sharing’ culture is strong of the year, particularly during the wet season, households can be expected to
accommodate many additional kin and for extended periods of time, as people don’t want to be cut off from services during the wet season. This could mean an opportunity in the Family Centre to act as another place where families will feel comfortable going to if they just want to be somewhere other than their homes that is safe and relaxed. COUNTRY Welcome to country can only be performed by an Aboriginal person from that Country, as they are traditionally from that Country. The significance of this is to understand the protocols that Indigenous people would have used traditionally and use in contemporary society. This is important to understand because it speaks to how people relate to the land, and how this differs from how I as a white person might relate to the land. MINDFULNESS OF VOCABULARY It’s important to be mindful of how one is speaking about Indigenous people. Terms such as ‘walkabout’ for promote the idea that Indigenous wonder off for something unimportant, rather than something significant that has direct connection with their kinship responsibilities for example. It’s integral to understand how to create
open communication by giving respect to all cultural groups. We also had a discussion about using the phrase ‘consult room’ which suggests an institutional, top down space, as opposed to ‘family room’ which suggests a space that is for the people and much more inviting. Image taken by previous Bower student 2019.
APPLICATION In my plan I tried to ensure that I was keeping these major points at the back of my mind at all times, and try to design a building that catered for these needs instead of imposing what I personally think would be a good solution for a family centre. I provided a variety of furnishings, both soft and hard to cater for how individuals may like to make the place their own. I ensured that spaces are big enough to cater for large groups of families to come and use the space how they please - big enough might mean much bigger than what I think, and will allow for families to configure the furniture in ways that they feel comfortable with. As “Indigenous people tend to blur the spatial distinctions favoured by non-Indigenous Australians” it is important that I as the designer, try to create a family centre that is not trying to overly define spaces, rather one that accommodates for spaces to be made how the people inhabiting them would like them to be made. In my own design I attempted to create areas that might allow for people to choose where they can physically locate themselves to be able to acknowledge or ignore the presence of others. For example in the ‘family rooms’ where private matters or business might be occurring, it is important to provide some sort of layering mechanism (I implemented perforated screens) such that people will not feel as if they are being watched. This might encourage people to fee comfortable in these rooms because they know that even if people are coming or approaching, they will not be easily identified. On the other hand it is integral to have strong connection to the outside such that people don’t feel trapped in these spaces, thus providing openings that allow for both to occur simultaneously are integral to the design.
APPLICATION CONTINUED In terms of Country, it is important that through the design there is acknowledgment that the design is built on the Country that surrounds Kalkaringi. This might mean putting into the design cues that relate the design back to the land and the significance of the land for Gurindji families. Catering for avoidance relationships is key to my design because having spoke to Taysha who has helped us navigate the complexities of the systems as outsiders, I now have an understanding that the architecture must be designed in a way that enables people to escape from spaces where are faced with someone who they cannot be affiliated with. This means multiple entries and exits and rooms that don’t have ‘pinch points’ where people could be trapped. This means the conflict between people will be reduced and the family centre can function as a place of harmony for all people who go there.
Image opposite - Taken by previous Bower student 2019.
4.2 PERSONAL
PERSONAL REFLECTION Even though we were unable to visit Kalkaringi this semester and be involved in the design-build component of the course, I still feel as if my learnings about the community were thorough and in-depth through the research conducted as well as the conversations I have had with my tutors and classmates who provided great insight. I am finishing this semester off with a feeling of deep passion for the topics covered, as well as a strong standpoint to share the knowledge that I have learnt with others. I feel that I have gasped an understanding of the kinds of functions and realistic spaces that the community might like to use and love in the Family Centre. I will carry these learnings with me for the rest of my architectural career and indeed my life. It has been an incredible experience to be a part of such a unique and important studio, and a privilege to be able to be involved in creating a design that responds to the needs of Kalkaringi and Gurindji families. I feel very lucky to have been involved in the entire process.
Image opposite - Taken by previous Bower student 2019.
Image taken by previous Bower student 2019.
4.3 BIBLIOGRAPHY ‘THE AUSTRALIAN DREAM’, STAN GRANT THE DREAMING, WEH STANNER BUILDING CHANGE, ARCHITECTURE, POLITICS AND CULTURAL AGENCY, LINDA FINDLEY ‘GURRUMUL’, PAUL WILLIAMS PODCAST - ‘BLACK AND GREEN: ENVIRONMENTALISTS AND INDIGENOUS AUSTRALIA’ SAND TALK, TYSON YUNKAPORTA TERRA NULLIUS AND THE NATIVE TITLE ACT DARK EMU, BRUCE PASCOE ‘TALKING TO MY COUNTRY’, STAN GRANT ‘TOOMELAH’, IWAN SEN ‘UTOPIA’, JOHN PILGER ‘SAMSON AND DELILAH’, WARWICK THORNTON ‘TEN CANOES’, ROLF DE HEER ‘ZAC’S CEREMONY’, AARON PETERSEN ‘IN MY BLOOD IT RUNS’, MAYA NEWELL ‘CHARLIE’S COUNTRY’, ROLF DE HEER ‘FINDING THE HEART OF THE NATION’, THOMAS MAYOR AUDIENCE AND KINSHIP SORRY BUISNESS KARTIYA ONE LINE TOYOTA’S KEIN MAHOOD A HANDFUL OF SAND, CHARLIE WARD FRANK HARDY AND THE WAVE-HILL WALK-OFF, JEREMY LONG O’Brien D. 2011. Policy and reality: Patterns of everyday living in Darwin’s Indigenous ‘town-camp’ communities. Proceedings of the 5th Australasian Housing Researchers’ Conference. Auckland, New Zealand.