BOWER STUDIO
EMMA MARTIN 2020
CONTENTS
INTRODUCTION 4 REINTRODUCTION TO KALKARINGI 8 REINTRODUCTION TO SELF 10 INTRODUCTION TO PROJECT 12
2
LIBANANGU COMMUNITY CENTRE 14 PRELIMINARY SKETCH DESIGN 18 KALKARINGI CONSULTATION TRIP 26 LIBANANGU COMMUNITY CENTRE DESIGN 40 SHIPPING CONTAINER DESIGN 50 ENGINEERING 54
RESEARCH 64 CULTURAL & BROADER RESEARCH 68 KALKARINGI RESEARCH 86 CULTURAL CENTRE PRECEDENTS 104 INDIGENOUS DESIGN 128
GURINDJI CULTURAL CENTRE 142 KARUNGKARNI ART & CULTURE CENTRE ESQUISSE 146 CONSULTATIONS 156 PROJECT OUTLINE 172 CONCEPT DESIGN 174 MID SEMESTER PRESENTATIONS 182 DESIGN DEVELOPMENT 194 DESIGN JUSTIFICATION 202
GURINDJI CULTURAL CENTRE FINAL DESIGN 224 FINAL DESIGN 226
3
INTRODUCTION
4
5
This book is a continuation of previous research. It can be considered as a part 2, delving deeper into Kalkaringi’s history and culture, and the ways architecture can engage with it.
6 | INTRODUCTION
KALKARINGI | 7
REINTRODUCTION TO KALKARINGI
Kalkaringi is a small community with an enormous history. In 1966 Vincent Lingiari led the Gurindji peoples in the Wave-Hill Walk-Off, leading to the birth of Indigenous land rights. The remarkable history and culture of the Gurindji peoples extends thousands of years into the past. Gurindji culture and history is a great source of pride for its peoples and should be celebrated and shared with both community members and the wider population.
Freedom Day Festival (Zicchino, 2019)
8 | INTRODUCTION
KALKARINGI | 9
REINTRODUCTION TO SELF
I feel very fortunate to be rejoining Bower studio as a mentor this year. I learnt so much through the experience last year and have continued to deepen this knowledge this year. My focus this year is on the more recent history of Kalkaringi and on Gurindji Culture. Whereas, last year my research and project centred around the residential architecture, now I am engaging with the discourse surrounding Kalkaringi through the lens of public architecture.
10 | INTRODUCTION
SELF | 11
INTRODUCTION TO DESIGN PROJECT
Through my designs for the Gurindji Cultural Centre I am seeking to create a space which preserves and celebrates the culture and history of the Gurindji peoples. Rob Roy, also known as Double R, a Gurindji Traditional Owner, who I have conversed with in Kalkaringi in both 2019 and 2020, has expressed a concern that cultural knowledge is not being passed onto younger generations, that it is being forgotten. To lose this wealth of knowledge would be a tragedy. Therefore, the focus of my design is on creating a cultural centre which facilitates the transfer of knowledge through its architecture. Alongside this it will also convey the story of the Wave Hill Walk-Off which is a major source of pride for the Gurindji people.
12 | INTRODUCTION
PROJECT | 13
LIBANANGU
14
COMMUNITY CENTRE 15
INTRODUCTION Having been students in last year’s project, the 2019 Kalkaringi park pavilion build, this year Belle and I will be joining the Bower team as mentors, alongside David, George, James, Jack and 10 new students. The intended build for 2020 was to work with the community to upgrade the old clinic, in the centre of Kalkaringi, into the new community centre, our efforts were to be focused on the exterior of the building, constructing shade screens, providing landscaping and place-making. However, due to COVID-19 we were unable to return to Kalkaringi. The following section will look at the plans for the project and our consultation trip to Kalkaringi in early 2020. In February David, Belle and I returned to Kalkaringi for consultations with the community, and to present, discuss and gain feedback on our ideas for the project.
16 | LIBANANGU COMMUNITY CENTRE
INTRODUCTION | 17
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CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852
Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
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DESIGN DEVELOPMENT
KALKARINGI SITE PLAN SCALE 1:1000 @A3
DATE: 14/01/20 ISSUE -
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Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
SKETCH DESIGN DRAWINGS
Phil Smith 0406 224 866 gurindjicorporation@gmail.com
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Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
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1 CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852
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SITE PLAN OPTION 3
Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
SKETCH DESIGN DRAWINGS
Phil Smith 0406 224 866 gurindjicorporation@gmail.com
SCALE 1:200 @A3
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CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852
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Phil Smith 0406 224 866 gurindjicorporation@gmail.com
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Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010 Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852 Phil Smith 0406 224 866 gurindjicorporation@gmail.com
REVISION
DATE
- DESIGN DEVELOPMENT
14/01/20
18 | LIBANANGU COMMUNITY CENTRE
Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
SKETCH DESIGN DRAWINGS SCALE 1:100 @A3
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Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
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CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852 Phil Smith 0406 224 866 gurindjicorporation@gmail.com
1 REVISION
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14/01/20
Site Plan 1:200
Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
SITE PLAN OPTION 1
Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
SKETCH DESIGN DRAWINGS SCALE 1:200 @A3
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1 CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852 Phil Smith 0406 224 866 gurindjicorporation@gmail.com
REVISION
DATE
- DESIGN DEVELOPMENT
14/01/20
Site Plan 1:200
Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
SITE PLAN OPTION 5
Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
SKETCH DESIGN DRAWINGS SCALE 1:200 @A3
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CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852 Phil Smith 0406 224 866 gurindjicorporation@gmail.com
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Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852
Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
SOUTH ELEVATION 1:50
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CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852
Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
DATE: 14/01/20
Site Plan 1:200
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Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
SITE PLAN OPTION 6 SKETCH DESIGN DRAWINGS
Phil Smith 0406 224 866 gurindjicorporation@gmail.com
REVISION
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- DESIGN DEVELOPMENT
14/01/20
Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
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Phil Smith 0406 224 866 gurindjicorporation@gmail.com
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Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
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CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852
REVISION
DATE
- DESIGN DEVELOPMENT
14/01/20
Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
SUN STUDY MARCH OPTION 2
Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
SKETCH DESIGN DRAWINGS
Phil Smith 0406 224 866 gurindjicorporation@gmail.com
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Phil Smith 0406 224 866 gurindjicorporation@gmail.com
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CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852
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Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010 Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
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Site Plan 1:200
CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852
REVISION - DESIGN DEVELOPMENT
14/01/20
20 | LIBANANGU COMMUNITY CENTRE Phil Smith 0406 224 866 gurindjicorporation@gmail.com
SOUTH ELEVATION 1:50
Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
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Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
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CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852 Phil Smith 0406 224 866 gurindjicorporation@gmail.com
9:00AM - 1:00PM 1:200
REVISION
DATE
- DESIGN DEVELOPMENT
14/01/20
SITE PLAN OPTION 9 SKETCH DESIGN DRAWINGS SCALE 1:200 @A3
Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
DATE: 14/01/20 ISSUE -
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Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
GSEducationalVersion
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CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852 Phil Smith 0406 224 866 gurindjicorporation@gmail.com
REVISION
DATE
- DESIGN DEVELOPMENT
14/01/20
Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
SUN STUDY JUNE OPTION 2
Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
SKETCH DESIGN DRAWINGS SCALE 1:200 @A3
DATE: 14/01/20 ISSUE -
A401 GSEducationalVersion
CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852 Phil Smith 0406 224 866 gurindjicorporation@gmail.com
REVISION
DATE
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14/01/20
PRELIMINARY SKETCH DESIGN | 21 SUN STUDY DECEMBER OPTION 2
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SCALE 1:200 @A3
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Pre - consultation sketch design refinement Having received feedback on the previous set of drawings, I put together this set which was issued to ARUP, theSKETCH engineers. We also took this set to Kalkaringi to take measurements of the existing conditions on site. DESIGN DRAWINGS PROJECT ADDRESS PROJECT NAME CLIENT
BUNTINE HIGHWAY KALKARINGI GURINDJI COMMUNITY HUB GURINDJI ABORIGINAL CORPORATION 3,200
DATE ISSUE
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22 | LIBANANGU COMMUNITY CENTRE
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Weldlok steel grating panels sitting inside EA frame and spanning between columns
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Design option with additional column
Concrete pad footing with steel base plate (bolt connection)
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Maximum size for columns to be 150mm EA. Optional additional strengthening (smaller) EA can be site welded to the inside of the column if required
+3,300 1 ROOF
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EA bracing beams to attach across all 4 columns, forming top and bottom of frame for perforated screens, on both sides. Preferred size of beam to be 65mm EA with maximum size 90mm EA
±0 -1 GROUND Site PlanLEVEL
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SIDE ELEVATION (OPTION 2) 1:50
The first option shows the preferred configuration of the columns. However, following concerns from the engineer, we proposed the second option as an alternative to propping the structure with circular rods.
Bower Studio | Melbourne School of Design University of Melbourne Victoria Australia 3010
CLIENT Gurindji Aboriginal Corporation Buntine Highway Kalkaringi Northern Territory Australia 0852
24 | LIBANANGU COMMUNITY CENTRE Dr David O'Brien 03 8344 8761 | djobrien@unimelb.edu.au
Phil Smith 0406 224 866 gurindjicorporation@gmail.com
REVISION
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- DESIGN DEVELOPMENT
14/01/20
SIDE ELEVATIONS SKETCH DESIGN DRAWINGS SCALE @A3
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PRELIMINARY SKETCH DESIGN | 25
KALKARINGI DAY 1 After flying from Melbourne, a long drive to Top Springs and spending the night in dongas, we began the final leg of the journey to Kalkaringi. There were some trepidations as to whether we’d be able to travel through to Kalkaringi following the 122mm of rain that had fallen the previous day and the uncertainty of more future rain. Fortunately though, we got lucky and arrived in Kalkaringi in good time. The arid landscape we’d come to know in our trip last April was almost unrecognisable, covered with green grass and shrubs, and with flocks of red-tailed black cockatoos in the treetops, it had fully transformed over the wet season. Arriving in Kalkaringi we met with Double R, his cousins Quitaysha and Mina, Penny from Karungkarni Art, Phil the CEO of Gurindji Corp and Michael, the new Gurindji Corp manager of construction and maintenance. Always brimming with ideas for infrastructure improvements for their community, we joined them on a tour of the town, observing potential sites for a future family centre project. We then continued onto the site for the next Bower project, which will include the construction of shade screens, seating and landscaping to upgrade and enhance the exterior of the old clinic building, which will be converted to a community hub to provide offices and spaces for tourism, Gurindji Corp, and community services and facilities.
26 | LIBANANGU COMMUNITY CENTRE
KALKARINGI DAY 2 Upon seeing the site it was immediately evident that our sketch design options could be modified to better utilise the spaces available on site and take advantage of the stunning views out towards the landscape. After adapting the concept to take full advantage of the site, we had a productive onsite consultation with Gurindji Corp and other community members, and decided that unlike previous Bower builds, such as the Wave Hill Walk-Off pavilions which had an inherent focus on the community’s past, this new project would be more about where the community is now, a contemporary story that talks to the future of the Gurindji people. Incorporating the discussion from our meeting, the afternoon was spent cadding drawings of the community hub floorplans to be sent to council, and constructing models of our design proposal to present in tomorrow’s consultation meeting with key community members (prior to our trip we had prepared a concept model as an adaptable kit of parts in anticipation of the consultation and site visit adjustments). In the evening we went to the club and enjoyed catching up with people we had met and friends we had made on the previous trip to Kalkaringi.
KALKARINGI CONSULTATION | 27
KALKARINGI DAY 3 We spent the morning finishing our two models; a detailed model of the shade screens and a model of the site. We the, presented these models in a meeting at the Gurindji Corp office to traditional owners Rosalind (Aunty Ross) and Rob Roy (Double R), Quitaysha, Mina, Phil (Gurindji Corp CEO), Michael (Gurindji Corp manager of construction) and other community members and Gurindji Corp workers, and listened to their feedback. The meeting was a vital step towards getting the project accepted and approved by the community. The meeting not only gave us the opportunity to present our new ideas to the community leaders and gain their opinions and feedback, but it was also a chance to reiterate the considered designs of Bower projects. During the meeting a community member shared their family’s story of living on the Wave Hill Station and experiencing the walk-off. It is from these stories and visiting the remnants of the station from which the design for the Wave Hill Walk-Off Pavilions was developed. The rusted steel angles, a recurring theme in Bower projects, reflect the original bed frames now rusting on Wave Hill Station, the exposed concrete pads are reflective of the slabs that were provided for accommodation and the overlapping perforated screens are made to resemble the dappled light in shade of trees. Belle and I then returned to the house we were staying in to amend the CAD drawings of the new community centre to submit to council for approval so that we can begin our construction on site in April. We then spent the afternoon exploring the landscape. On our last trip to Kalkaringi we were there during a very dry, dry season that had followed an absent wet season, so the landscape was very dry and sparse. Now however, in the wet season, all the little creeks and rivers had swollen, and the trees, shrubs and grasses had multiplied and were exceptionally green. At the river on the way to Daguragu we happened upon Leah who had brought her grandchildren, nieces and nephews for a swim. Sitting by the river with our feet dipped in the water was a great way to finish the day.
28 | LIBANANGU COMMUNITY CENTRE
KALKARINGI DAY 4 We spent our final morning taking final measurements and photos of the site to ensure nothing had been missed. We also visited the Karungkarni Arts Centre, where we showed our two models to Penny, Rosemary, Richard, Rachael, Narelle and Leah, and discussed our plans for the Community Centre. Everyone at the meeting was happy to see that the old building which was once central to the community was being repurposed, and they were excited by the prospect of having a new opportunity to share and display their community values. They provided valuable suggestions such as a desert garden and using river rocks and different gravels to create landscaping, which will be incorporated into the design. Then we said our final goodbyes and hit the road for the long drive back to Darwin, excited by the thought of returning in just a few short months to begin the new build.
KALKARINGI CONSULTATION | 29
KALKARINGI REFLECTION REFLECTION Traveling to Kalkaringi was really valuable in gaining information of the site and consulting with community. As a result of the site visits we were able to gain a lot of information about the site which we had been unable to in Melbourne. Upon visiting the site we realised that the facade facing the highway would be the ideal entry point to the building and is also the most visible. Therefore, we decided on repositioning the screens to improve the circulation through the space as well as for visual impact. By visiting the site we were also able to analyse the site conditions and make suggestions for internal floor plan and design for the interior of the community centre, which we realised did not require the major changes to the floor plan which were previously thought necessary, instead the existing room locations could be repurposed. The consultations, the main reason for the trip, were also hugely valuable. The more formal consultation held at Gurindji Corporation was really important in both getting the approval from the Traditional Owners, Roslyn Frith in particular, for the project to go ahead and hearing their opinions and thoughts on the designs. This was my first formal consultation with the Gurindji people and was an interesting learning experience. I was surprised by the general quietness of the meeting which made clear the hierarchy of the people in the room in terms of decision-making for the community. It was also interesting to see how opinions were expressed. At times these opinions were a simple and explicit yes or no and at other times it was more subtle and you had to really read the room and people’s body language. The various informal consultations we had were also invaluable in gauging the community’s expectations and desires for the community centre. They also were helpful in informing the designs for the exterior of the community centre. Leah’s suggestions for an arid garden and using river rocks will be a driving factor in the landscaping. Using these elements will soften the design and provide spaces for people to sit.
30 | LIBANANGU COMMUNITY CENTRE
KALKARINGI CONSULTATION | 31
PROJECT SITE EXISTING CONDITIONS The site for the project is at the corner of the Buntine highway and Kalkaringi Int. The site was previously a health clinic and the original building still exists on site. The building will be repurposed as a community centre, which will include Gurindji Corp offices, tourism/art centre office, meeting rooms and community rooms and facilities, such as computers. The intention for the renovations is to limit wall/structural changes in order to keep costs low, instead repurposing the existing rooms to suit a new function. The building itself is quite drab, and will require a face-lift as part of the project.
32 | LIBANANGU COMMUNITY CENTRE
KALKARINGI CONSULTATION | 33
Issue to Council ST LA M HI T W
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5 FEBRUARY 2020 DATE:19 2019 2020 DATE: 13JULY FEBRUARY DATE:
AR
INFOYER GJ I IN
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Kalkaringi Kalkaringi Community Community Centre Community CentreCentre
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34 | LIBANANGU COMMUNITY CENTRE
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We also updated the floor plans for the community centre to suit the requirements for the building. As previously stated the aim was to retain as many of the existing wall and door locations as possible.
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We updated the site plan to include the shade screens and landscaping, as well as reconfiguring the parking.
TITLE:SITE PLAN TITLE: TITLE: PLAN SITESITE PLAN
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While in Kalkaringi Belle and I updated the following drawings for Phil to issue to council for approval. This needs to be granted before the project can begin.
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TITLE: TITLE:
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Kalkaringi Kalkaringi Community CommunityCentre Centre
KALKARINGI CONSULTATION | 35
PLANNING APPLICATION LOT 59 KALKARINDJI SITE PLAN
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4600
SCALE 1:100
VERANDAH
100
3800
100
COMMUNITY ACTIVITY
3400
LANDCAPE NOTES: PLANTS TO BE LOCAL NATIVE TREES SHRUBS AND GRASSES PLANTS WITHIN 2M OF DRIVEWAY TO BE NO HIGHER THAN 600MM TO MAINTAIN DRIVER SIGHT LINES
STORE
100
100
1800
1500
100
TEA ROOM
EXISTING HEALTH CLINIC TO BE CONVERTED TO COMMUNITY CENTRE
LOT 59
400.00M2 142.00M2 18.00M2 25.00M2 10.00M2 205.00M2
100
VERANDAH
CLEANERS STORE
100
VERANDAH
ACCESSIBLE WC
MALE WC
FEMALE WC
WC
2200
1500
COMMUNITY ACTIVITY
COMMUNITY MEETING ROOM
PUBLIC COMPUTORS INTERNET ACCESS
5600 1500
TOTAL BUILDING VERANDAHS TEA ROOM ABLUTION STORES NET FLOOR AREA
PRINT/COPY ROOM
3800
3M
VISITOR CENTRE
5600
10200
100
1900
CARPARKING REQUIREMENTS 5 PER 100M2 OF NET FLOOR AREA NET FLOOR AREA 200M2 REQUIRED CARPARKING 10 SPACES PROPOSED 6 SPACES INCLUDING ACCESSIBLE SHARED SPACE
.20
3900
46
Y
765.50M2
A
LANDSCAPE/OUTDOOR COMUNITY
SHADE SCREEN
W
221.00M2
FOYER
H
DRIVEWAY AND PARKING
COMMUNITY ACTIVITY
100
9M
400.00M2
.56
1386.50M2
27
TOTAL LOT AREA BUILDING AREA
17800
SHADED SEATING
11.817M
100
LOT 58
100 COMMUNITY ACTIVITY
2600
5500
SHADE SCREEN
4300
100
2500
4300
36
.21
M
6000
3M
3600
.31
100
3600
33
3700
100
100
100
A
N
H
IG
100
H
A
N
1492
6908 100
1200
1400
100
100
1500 100
1500 100
1300 100
2800 100
3600
ELEVATION KEY
100
B
U
C
More recently Phil from Gurindji Corporation sent us the planning application documents. It was really great Contractors P/L design . drafting . consultants to see that the work that we completed in CAT Kalkaringi for. construction the council application is being progressed and is now in the planning application stage.
100
NO
DATE
AMMENDMENT
DRAWING TITLE
NOTES
A 6/6/20 FOR APPROVAL
36 | LIBANANGU COMMUNITY CENTRE
· · ·
phone 0409491751 email clayton@catcontractors.com.au postal po box 2271 katherine nt 0851
CLIENT
GURINDJI CORP
PROJECT COMMUNITY CENTRE LOT 59 KALKARINDJI
DATE
26/05/2020
DRAWN
CRH
CHECKED
CRH
APPROVED
CRH
JOB NO
NO
DATE
AMMENDMENT
20048 A
REV
DRAWING NO
P01
A 6/6/20 FOR APPROVAL
NOTES
CAT Contractors P/L design . drafting . consultants . construction · · ·
phone 0409491751 email clayton@catcontractors.com.au postal po box 2271 katherine nt 0851
DRAWING TITLE FLOOR PLAN CLIENT GURINDJI CORP
PROJECT COMMUNITY CENTRE LOT 59 KALKARINDJI
DATE
26/05/2020
DRAWN
CRH
CHECKED
CRH
APPROVED
CRH
JOB NO
20048 A
REV DRAWING NO
P02
KALKARINGI CONSULTATION | 37
SIGNAGE
SIGNAGE
EXISTING ROOF SHEETING AND STUCTURE
EXISTING ROOF SHEETING AND STUCTURE
4713
4713
LIBANANGU COMMUNITY CENTRE ACCESS STAIRS IN ACCORDANCE WITH AS1428.1
ACCESS STAIRS IN ACCORDANCE WITH AS1428.1
ACCESS STAIRS IN ACCORDANCE WITH AS1428.1
ACCESS STAIRS IN ACCORDANCE WITH AS1428.1
ACCESSIBLE RAMP IN ACCORDANCE WITH AS1428.1
1
P02
3
FEATURE COLORBOND WALL CLADDING
ELEVATION 1
1:75
FRONT ELEVATION
P02
ALUMINIUM FRAMED LOUVRE WINDOWS
FEATURE COLORBOND WALL CLADDING
ELEVATION 3
1:75
REAR ELEVATION
ALUMINIUM FRAMED LOUVRE WINDOWS
EXISTING ROOF SHEETING AND STUCTURE
ALUMINIUM FRAMED LOUVRE WINDOWS
EXISTING ROOF SHEETING AND STUCTURE
ALUMINIUM FRAMED LOUVRE WINDOWS
OPEN VERANDAH
SIGNAGE FACADE
OPEN
4713
OPEN VERANDAH
ACCESSIBLE RAMP IN ACCORDANCE WITH AS1428.1
ACCESS STAIRS IN ACCORDANCE WITH AS1428.1
OPEN
4713
SIGNAGE FACADE
ACCESS STAIRS IN ACCORDANCE WITH AS1428.1
ACCESS STAIRS IN ACCORDANCE WITH AS1428.1
FEATURE SIDE WALLS PAINT FINISH
STORE, PAINT FINISH
2
P02
ELEVATION 2 SIDE ELEVATION
4
1:75
P02
Contractors P/L culture are featured in the documentation. It was also great to see that our designs forCAT the. drafting exterior the design . consultants of . construction Though I note that the feature painting is incorrectly on two elevations. NO
DATE
AMMENDMENT
DRAWING TITLE
NOTES
ELEVATIONS 1&2
A 6/6/20 FOR APPROVAL
38 | LIBANANGU COMMUNITY CENTRE
· · ·
phone 0409491751 email clayton@catcontractors.com.au postal po box 2271 katherine nt 0851
CLIENT
GURINDJI CORP
PROJECT COMMUNITY CENTRE LOT 59 KALKARINDJI
DATE
26/05/2020
DRAWN
CRH
CHECKED
CRH
APPROVED
CRH
JOB NO
20048 A
REV
NO
DATE
AMMENDMENT
DRAWING NO
P03
A 6/6/20 FOR APPROVAL
NOTES
CAT Contractors P/L design . drafting . consultants . construction · · ·
phone 0409491751 email clayton@catcontractors.com.au postal po box 2271 katherine nt 0851
ELEVATION 4 SIDE ELEVATION
DRAWING TITLE ELEVATION 3 & 4 CLIENT GURINDJI CORP
1:75
PROJECT COMMUNITY CENTRE LOT 59 KALKARINDJI
DATE
26/05/2020
DRAWN
CRH
CHECKED
CRH
APPROVED
CRH
JOB NO
20048 A
REV DRAWING NO
P04
KALKARINGI CONSULTATION | 39
DESIGN DEVELOPMENT After returning to Melbourne I put together these renders to collate the ideas we had had into a visual format to be presented to the Kalkaringi community, in order to generate discussion and get feedback. We decided to shift the main entrance to the eastern facade and locate the shade screens to inform the entrance pathway. The screens are surrounded by a ‘desert garden’ and river rocks, ideas which Leah and other community members supported. The eastern facade of the building includes an indicative dot painting from the Karungkarni Art and Culture Centre as artists from the centre were excited by the idea of painting the building in a similar way to the shire building in Kalkaringi, which has a beauitiful painted facade.
40 | LIBANANGU COMMUNITY CENTRE
DESIGN | 41
EXPLORING COLOUR OPTIONS
Using the renders as a base, Belle then put together the above range of options for potential colours for the project. After producing our designs we discussed that perhaps it was unlikely that the side of the building would be able to be painted in dot painting and considered alternatives such as fixing painted panels to the walls or minimising the extent of the dot-painted parts.
42 | LIBANANGU COMMUNITY CENTRE
I then created several more options for the colour scheme, which can be seen above, using more toned down colours from the dulux range, and using a deep reddish-grey as the main colour, which was favoured by the community. Without the dot paintings however, we felt the building was less visually striking and David suggested abstracting the artworks from the Karungkarni art centre in a more large-scale format.
DESIGN | 43
EASTERN FACADE OPTIONS
I then began look at how the eastern facade could be painted, keeping in mind the short time frame to complete the painting. The painting is an abstraction of the colours and shapes drawn from artworks at the Karungkarni Arts and Culture Centre. I originally was concerned about it potentially being cultural appropriation however I was reinsured by David and that the facade would be painted with the help of Gurindji people.
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Key considerations with colour selection were how the colours relate to the surrounding environment and how dust shows on different colours. The two images on the following page is the option which I had created that was chosen by the community to inform the final design, recognising that some aspects may change whilst in Kalkaringi through the consultation process. Balancing physical and cultural considerations was a challenging and time-consuming experience, but i think the final design manages to navigate these issues successfully.
DESIGN | 45
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DESIGN | 47
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DESIGN | 49
INITIAL SHIPPING CONTAINER DESIGN
I created this initial shipping container design starting with using colours of the landscape and then adding to it with colours that complement it. The idea is for the shipping container to be positioned near the community centre for their use, once we have finished construction, so the design ties into the design of the centre.
50 | LIBANANGU COMMUNITY CENTRE
SHIPPING CONTAINER DESIGN | 51
FINAL SHIPPING CONTAINER DESIGN
I then refined the design by introducing more colours in response to the communities desire for colour. The colours used in this design are influenced by the colours used in paintings in the Karungkarni Art and Culture Centre as it shows the communities preference of familiarity with this colour palette.
52 | LIBANANGU COMMUNITY CENTRE
SHIPPING CONTAINER DESIGN | 53
BOWER & ARUP MEETINGS This year Bower Studio will again be engaging ARUP as engineers for the project. We will be working with James Danatzis, Rachel Ngu and Jorja Zanotto. Our initial meeting with ARUP was held at their office, where David introduced the projects site and context and the concept for the design.
In response to this ARUP suggested that EA sizes can potentially be reduced through reducing the column spacing and mesh porosity. These EA columns should be welded and brought to site. They also proposed a circular rod tie at the base of the column to provide further support, however this did not fit with the design intent.
for the screening on site, to be done by Jack.
Some of the key points established in this meeting were:
The base plate would be prefabricated to the columns and bolted in place on site. Tolerance will be built into the baseplate through slits for the bolts, grout beneath the baseplate will provide additional tolerance/flexibility.
1. A max EA size of 150mm as the columns will need to be manually lifted into position on site. 2. There will be 3-4 sets of bays, each consisting of 4 columns. 3. Mesh framed by EA beams will span the columns to provide horizontal screening.
Other factors discussed included restricting the column spacing to a maximum of 3.2m. The size of the pads will vary depending on their position, which a=impacts the load they are bearing. Pads beneath the edge columns can be significantly smaller.
Having further refined the design we met with Rachel and Jorja at the MSD for a team meeting. We discussed possible joints and settled on welding the EA beams
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ENGINEERING | 55
ARUP PRESENTATION During studio, Rachel and Jorja presented the engineering drawings to the class and shared the key project considerations: 1. Columns to be 150EA each max. 2. Column thickness will be either 10mm or 12mm depending on positioning. 3. Central 150x12 EAs will have a 125x12 EA welded to the inside of the columns on site. 4. Pad footings will be precast given the large amount of concrete required and extend 300mm into the ground. They also discussed the decision to use cast-in bolts in the footings as they have a higher capacity.
56 | LIBANANGU COMMUNITY CENTRE
Forces increase as they travel down the structure to the base.
ARUP’s involvement in the project includes the structural design of the horizontal and vertical steel members, the concrete pad footings and their connections. This is why some columns require an additional angle welded inside the bottom segment.
The wind load taken by the screen increases with surface area. Less/smaller perforations result in a higher wind load. The screen’s wind load is transferred to its closest contact point, the EA beams, and is transferred through these to the EA columns. These forces are then distributed to the pad footing and into the ground.
Strength, stability and serviceability/deflection were key considerations in the design. Forces, including live loads, dead loads and wind loads, were also considered. Construction considerations include manual Governing criteria labour, member weights and minimising digging.
Governing criteria for the structural design includes: • High wind loads given the low density location resulting in a large overturning moment and high lateral deflections • Wind load reductions were achieved by removing the top horizontal ‘roofing’ element and increasing the permeability of the perforated screens • The central columns support the largest load tributary area and are for the structure therefore required to be greater than the end columns.
• High wind loads due to terrain category resulting in: - Large overturning moment The design process involved: - High lateral deflections • Initial meeting with Bower • Screens removed on the top face and of material • Preliminarypermeability design and steelincreased for the remaining screens to reduce the wind load
member sizing • Workshops with Bower to overcome design challenges • Final design and documentation
Structural drawings (ARUP, 2020)
ENGINEERING | 57
ARUP ENGINEERING DRAWINGS
58 | LIBANANGU COMMUNITY CENTRE
ENGINEERING | 59
ARUP ENGINEERING DRAWINGS
60 | LIBANANGU COMMUNITY CENTRE
ENGINEERING | 61
SHOP DRAWINGS
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ENGINEERING | 63
RESEARCH
64
65
INTRODUCTION The following research has greatly informed my designs for the Gurindji Cultural Centre. Beginning with broader cultural research, I have also research into Kalkaringi’s history and cultural practices, culture centre precedent projects and into Indigenous design
(Tweedie, n.d.)
66
67
THE AUSTRALIAN DREAM This documentary looks at racism, identity and belonging through the lens of Adam Goodes’ and those around him. Growing up as an Aboriginal child, moving from place to place, it was Goodes love of sport that helped him to assimilate and to break down barriers each time he moved. AFL was based off an indigenous game, it is the thread that binds the nation. But the incredible career that Goodes went on to forge in AFL would eventually be destroyed by unrelenting racial vilification. Racism is something that every Aboriginal or Torres Strait Islander experiences and it forces doubt into those who have had to face it. It makes them feel that they are not a part of the same society that we live in. Some stand up, such as Nicky Winmar, who in 1993 lifted his shirt and pointed at his skin colour, sending the message this is who I am and I am proud of it. But having to constantly stand up to people takes a toll, and this was Goodes’ emotional undoing. Twenty years on from Nicky Winmar’s famous stance, a thirteen-year-old girl yells mid-match “Goodes, you’re an ape”. He had security remove her, but Goodes recognised that it wasn’t her fault, that people aren’t born racist. But the fact that she had said this highlighted that racism exists, that such comments are being made around kids that they overhear and absorb. Even Eddie McGuire who, having reassured him following this incident, only a few days later racially vilified Goodes himself. The issue is that racist statements are made out of ignorance, often people do not understand the gravity of what they are saying and the impact of it on those targeted. Adam Goodes, 2003 (Gordon, 2019)
68 | RESEARCH
Nicky Winmar, 1993 (Gordon, 2019)
In 2014 Goodes was awarded Australian of the Year on Australia Day/Invasion Day. He used this opportunity to talk about racism, about sticking up for those around you who are subjected to racism. From that point on during matches Goodes would be booed by mass crowds. It escalated week by week, and each time he touched the ball or got a goal he would be booed. Goodes had raised his concerns, and in the minds of some he had committed the great sin of being the ‘Aboriginal who complains’, who reveals the darkness and history
CULTURAL & BROADER | 69
“Sport has a way of really capturing the essence of what’s happening in society.” - Stan Grant
70 | RESEARCH
that people want to leave behind. All of a sudden his ‘safe place’, the football field, was somewhere he didn’t want to be. Because in the booing what Goodes heard was ‘you’re not welcome’ and the echo of the Aboriginal peoples’ history before him. So Goodes made the decision not to play, and by doing so he decided not to give people a platform to be racist anymore (Gordon, 2019). DISCUSSION A recurring theme is the idea of continuity, of a closed loop framework, of teaching the same lessons, retaining the same landscape and the same culture over time. However, knowledge is only shared when the receiver is ready to listen, and today there are fewer people to pass it onto.
REFLECTION When Stan Grant states that “sport has a way of really capturing the essence of what’s happening in society”, I think he is referring to the racial undertones that unfortunately still exist in society, the ‘casual racism’ that still occurs, often not with the intention of being offensive but as a joke. This racism is then given a platform to voice itself at sporting events or on social media, and the fact that it is still occurring is shocking. In Goodes’ Australian of the Year acceptance speech he talked about receiving his “fair share of racism.” This highlights how ingrained racism is in Aboriginal people’s lives that this statement could even be made. His fair share should be zero. There is no fair share of racism, all
levels of racism should not and cannot be tolerated. I found this documentary emotionally overwhelming because you can see in Goodes’ face, in his final matches, his absolute devastation. His facial expressions and body language is that of someone that’s world is being shattered. The fact that people can be so cruel to other people is truly terrible, and is a horrible reflection of Australian society. The fact that Adam Goodes’ overall outlook remained positive throughout this experience in the sense that he never blamed any one person and his belief that it is never too late to change is a testament to his character and reveals that it is never to late to change for the better and to engage in projects like the cultural centre.
CULTURAL & BROADER | 71
MEMORIAL LANDSCAPES Memorial landscapes are able to encourage the sharing of stories and hard truths ingrained in the cultural fabric of Indigenous groups. Waitangi Treaty Grounds, New Zealand, is an example of a landscape that commemorates an historic event. It preserves an established location of debate and encourages its evolution. Although it risks undermining preestablished processes of remembering. Ngarara Place, Melbourne, is an example of a landscape constructed as a result of direct physical intervention. This project draws on four key pillars; connection to country, cultural motifs, contemporary Aboriginal art and knowledge exchange. The landscape design focuses on the seven seasons of the Kulin Nations. A fundamental consideration in landscape design is the understanding of Aboriginal peoples’ relationships with the land. Alienate Arts Festival, Canada, is an example of a transient landscape, in which environments are imbued with temporary interventions. The intention of the project is to continue instilling pride in Inuit culture. Despite the dark past the festival carries an optimistic tone. The festival implies an ability for Inuit culture to transcend political and geographic boundaries. However, it can also be seen as forced commodification that glosses over a more sombre history. The Bundian Way, NSW, is another example of a transient landscape. It is an ancient 365km Aboriginal traveling route and is associated with ceremonial rituals and knowledge transfer. The modern Bundian Way attempts to reconnect those who traverse it with the Aboriginal rituals inherent in the landscape.
72 | RESEARCH
Since white settlement in Australia, the ability for place-making by Aboriginal peoples has become restricted. It is therefore essential that architects and landscape designers make conscious and sustained attempts at creating landscapes that include, empower and sustain Aboriginal peoples in the design and use of the spaces. A link to the documentary produced by Shalini Rautela, Gaby Miegeville-Little and Damien Cresp titled ‘Memorial Landscapes Revisited - Bower Studio 2020’ is below: https://youtu.be/ eV4Tga1tYAY
DISCUSSION Waitangi Treaty Grounds and the Alienate Arts Festival are examples that create a more rigid and controlled experience for the users. The Bundian Way, however, is more linked to the idea of journeys and of the passing of knowledge as a subset of the journey. This is a common theme in Australian examples in which the memorial aspect is almost secondary to something that is pragmatic. The Waitangi Treaty grounds is successful in its placemaking that attracts renewed occupation and large numbers of people, thus facilitating both memory retaining and memory making. REFLECTION In these examples the idea of the audience is central. Who are the landscapes really being made for? Given the location selection for Ngarara Place, for instance, nestled in between RMIT buildings, it makes you question how many Aboriginal people would actually utilise the space. Is it more of a facade to convey the cultural life of RMIT? Or is it enough that the project team involved Aboriginal consultation and involvement? Waitangi Treaty Grounds on the other hand is highly utilised and engaged with by the Maori and non-Indigenous people of New Zealand. It is a place where events and protests are held, discontent is voiced, and culture is shared.
CULTURAL & BROADER | 73
SAND TALK
Sand talk (Wild, 2014)
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Totemic entities ‘follow the songlines of their creation: maps of story carrying knowledge along the lines of energy that manifest as Law in the mind and land as one, webbed throughout the traditional lands of the First Peoples’. The universe, and everything within it, follows a pattern. This pattern is in turn followed by traditions and knowledge systems to maintain balance. For Indigenous Australians who come from deeply interdependent and interpersonal oral culture, writing in English, the language of the occupying power, is contradictory and complicated. Tyson Yunkaporta, born in Melbourne, but growing up in a dozen Queensland communities, didn’t find his reconnection with his ‘tribe’ lived up to his homecoming fantasy. Having lived in constant interrogation about his identity, he was ‘adopted’ and finally found a ‘home’ in Cape York. He then worked with Indigenous communities across Australia, learning about the Law of the land form elders and knowledge-keepers. He discovered in this process that it was ‘our ways, not our things’ that ground and sustain people, through Indigenous patterns of being, thinking and doing.
The authenticity required by colonists doesn’t lend itself to the complexities of Indigenous identities and knowledge, as everyone once had many languages and affiliations. Indigenous knowledge dispersed through mixed identities cannot be identified and utilised through simplistic categories. As a younger sibling, Yunkaporta is only able to speak from the knowledge, he cannot speak for it or in detail. Instead he talks of the patterns and process of his cultural knowledge. This knowledge has endured as each person carries part of it, which fits into the pattern of the entire system. Knowledge is transmitted through yarns, and sand talk is the custom of drawing on the earth to convey this knowledge. This knowledge is connected to a meta-story, the Star Dreaming, which traverses and connects all of Australia and all people through songlines. Dreaming can be alternatively understood as ‘supra-rational interdimensional ontology endogenous to custodial ritual complexes.’ Today people are discussing the need for using Indigenous knowledge to find sustainability solutions but no one is saying how, other than giving isolated examples. Yunkaporta suggests that Indegenous pattern thinking and processes is the key factor which hasn’t been realised (Yunkaporta, 2019). REFLECTION Up until reading this I had really been struggling to understand the complex concepts of dreamings and songlines. While recognising that this is something that non-Indigenous people may never understand, I feel that now I have at least begun the process of understanding them. I also found it interesting Yunkaporta acknowledges himself that for a lot of terms, such as ‘Dreamings’ or ‘First Peoples’, there is no correct term to be used that all agree with, therefore the use of these terms is permitted because it is the best option, or is what people are familiar with. His raising of this point reassured my own uncertainties about using these terms.
CULTURAL & BROADER | 75
ABORIGINAL AGRICULTURE & AQUACULTURE The agricultural practices of Aboriginal Australians has repeatedly been downplayed throughout historical texts. Pascoe shines a light on the complexities of Indigenous economy and the established agriculture and aquaculture which debunks the common perception of precolonisation Indigenous peoples as nomadic hunter-gatherers. Aboriginal peoples planted, irrigated and harvested large crops of an array of grains, tubers and aquatic species using a variety of tools and strategies. Excess produce was made into preserves and flours and stored. Game hunting and farming was also practiced by Aboriginal Australians and is evidenced through large stone and netted drives for capturing Kangaroo. Similarly water bird species were herded, corralled and harvested. Accounts of planting, husbandry, harvesting and storage are recurrant in early explorers writings.
Fishing in the Brewarrina fish traps (Powerhouse Museum, n.d.)
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In addition to agriculture, aquaculture was also well established right across Australia. Aboriginal peoples constructed fishing machines, elaborate nets and fish traps to capture fish in sustainable ways. Water dykes and weirs were constructed to retain water and fish stocks and create the perfect breeding conditions. The design of complex fishing structures were presumably passed across Australia along the economic and cultural songlines. A significant and highly efficient fishing system, the Brewarrina fish traps, maintained breeding stock and support enourmous harvests. Canoes were also utilised across Australia (Pascoe, 2014).
REFLECTION Having only read select chapters of Dark Emu last year I wanted to finish this book, which is such an important text in Australia’s history, a side of history I was never taught. I found it particularly interesting reading about the growing practices of barley grass, nardoo and cumbungi, plants that I have been surrounded by my whole life and never knew or considered that they could be eaten. It was also interesting to learn more about the functioning and engineering of the Brewarrina fish traps which I visited in 2017. At the time I observed Aboriginal peoples swimming amongst the fish traps in the heat of the day and burning the bush in the surrounding area right up to the Barwon River.
CULTURAL & BROADER | 77
THE TRACKER The tracker is a film that follows the journey of an Aboriginal Tracker (David Gulpilil) leading a manhunt with the merciless Fanatic, the Veteran and the Follower, for an Aboriginal man (the Fugitive) accused of murdering a white woman. The characters do not have names, rather they are archetypes, demonstrating that the occurrences in this film were not once-off events caused by select people, they were common occurrences in Australia’s colonial past. The names of the murderers of Indigenous peoples were not written down, neither were the deaths or names of the victims recorded. Throughout the film the dominance of the white men over the Tracker is made clear by his chains, the towering men on horses, and the weaponry aimed at him. Yet it evident that the Tracker is the one in control of the mission, unbeknown to the rest of the group. The tracker sets the pace of the expedition and keeps the accused at a distance to allow him time to return to his community for cultural justice to be served. The film focuses on racism and blurs the line between civilian and ‘savage’ when the Fanatic policeman massacres a group of innocent and peaceful Aboriginal people. As the Fanatic abuses and murders fellow Aboriginal peoples, you can see the dehumanising effect it has on the Tracker. The Tracker is ingratiating towards the Fanatic, his “boss”, and he deals his racism good-naturedly on the outside, but silently he is planning his revenge (De Heer, 2002).
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REFLECTION The approach to the filming of The Tracker thankfully differs vastly from the common Hollywood style of film in terms of its pace, with long drawn-out shots, and the use of art to replace would have been graphic scenes. It was interesting, but also heartbreaking, to see how racism is conveyed in the film. Rather than the racist remarks being made by the white men, a lot of the racism was actually spoken by the Tracker, as he regurgitates comments he has clearly heard many times before. I found it particularly confronting to see this role reversal, to see the Aboriginal tracker reciting racist comments, often as a joke, in his attempt to make light of an awful situation.
CULTURAL & BROADER | 79
“Then they took the children away, took the children away, the children away. Snatched from their mother’s breast, said this is for the best, took them away.” -Took the Children Away
“Down city streets I would roam, I had no bed I had no home, there was nothing that I owned, I used my fingers as a comb.” -Down City Streets
“Oh, you know I love this country, every rock and every tree, the grass lands and the desserts, the rivers and the sea.” -Let Love Rule
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“As we grew up we felt alone, cause we were acting white, yet feeling black.” -Took the Children Away
“So my brothers, don’t hurt her anymore she’s got her hurt lord, you got yours, and she’s sick and tired of walking into doors.” -Walking into Doors
“In and out of institutions, what could they do with this child, where was the neat solution? There was nothing they could do, so they gave her to the street, and she joined all the rest of the hungry and the tired feet.” -From Paradise
ARCHIE ROACH
“If your burden’s too heavy, then it’s gonna break you, and you might go crashing, to the ground, keep yourself steady, and don’t let it take you, take you on down.” -We Won’t Cry
REFLECTION Archie Roach’s music is something I grew up listening to. In February I was lucky to see him perform for the second time. While his music often recounts sad and traumatic experiences, a lot of his songs are optimistic and filled with hope. He manages to deal with tragedies in a soft, warm and loving way, conveying the importance of love.
“And we hear the children crying, and we don’t know what to do, gotta hold onto each other, and love will see us through.” -Let Love Rule
“Oh I’m going back again, to that place where they took me from, to my home, Lord, oh I feel like going home, Nopun kurongk, nukun kurongk.” -Nopun Kurongk
Archie Roach (Riverboats Festival, 2020)
What is spectacular about seeing Archie Roach live is experiencing his love of storytelling. He doesn’t simply move from one song to the next, he pauses to tell stories of his upbringing, his life and his culture. He spoke of his and Ruby’s’ experiences as part of the Stolen Generation and shared his wisdom and his perspectives and experiences of life.
CULTURAL & BROADER | 81
POLLACK SWAMP The Pollack Swamp located near Barham, NSW in Barapa Barapa country is a significant ecological, cultural and archaeological site. It’s name is derived from the Barapa Barapa word ‘pulitj’ meaning swamp. The site encompasses a significant, but widely unknown and unresearched, ancient Aboriginal village. It is believed that the Blandowski etchings of the 1850’s, may be depicting this very location. Located around Pollack Swamp are 154 earth mounds, varying in size from 15m2 to 806m2, with an average size of 159m2. The mounds grew as a byproduct of ash, baked clay, charcoal and the waste of everyday life. The mounds are are dated from 3,000 years ago and are strategically located in clusters around fish and plant resources to take advantage of water flows for catching fish. It is believed that 250500 Aboriginal people may have occupied them at any given time. In 1836 the floodplain was described by Mitchell as ‘a sea of reeds bounded only by the horizon’ and he described the people as ‘aquatic tribes.’ In the 1840s, Beveridge observed people living on islands for up to ‘five months of the year’, with all movement by canoe.
Pollack Swamp (Martin, 2020)
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The site is fenced in as an ecological reserve and is landlocked by private properties so is not accessible to the general public. It is also no longer inhabited by the Barapa Barapa peoples (Pardoe & Hutton, 2020).
REFLECTION I was recently fortunate to be granted access to Pollack Swamp. I find it incredible that such a significant site in Australia’s history is largely unresearched, and the research which has been done of the site has more to do with ecological management than its Aboriginal history. The site is remarkable in terms of its flora and fauna, the giant reeds are unlike any I have ever seen, and the abundance of massive, red-bellied black snakes is incredible. Far more remarkable though are the earth mounds, some which were residential and others are built up where the baking ovens were. You can see beside them the pits where the clay for baking was dug from.
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TEN CANOES Ten Canoes is the first film ever made in entirely Aboriginal language and based on traditional stories. The film, which was filmed in Ramingining, is in Ganalbingu language with subtitles and is narrated by David Gulpilil in English. The film has two simultaneous plots intertwined. One plot is presented in black and white and follows Minygululu leading a group of men in making cones from bark. During the quite moments of the canoe making process he tells his younger brother Dayindi, who is interested Minygululu’s youngest wife, an ancient story of a similar scenario to teach him how to behave. The story he is telling, set in the very distant past, is a simultaneous narrative in the film and is filmed in colour. The storytelling stops and starts and Dayindi becomes impatient, but in Minygululu’s eyes the story is like a tree with large branches and all parts of the story need to be understood for a proper understanding, which requires the story being told over a period of days. The story-teller also notes the Dayindi’s interest in violence which is typical of young generations. A key part of the story is the payback ceremony after a man mistakenly kills another man from a different tribe. It is a demonstration of Aboriginal law and achieving justice in a eye-for-an-eye manner, and how this generates peace (De Heer & Djigirr, 2006).
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REFLECTION This film really embraces and accentuates the tradition and respect Aboriginal people have for storytelling as a method of entertainment, but more importantly as way of passing on cultural knowledge, values and law. From this story and stories that Yamba told us last year in Kalkaringi, a key aspect of stories is the values and lessons they teach. In this instance the lesson seems to be about patience and the proper ways of behaving. APPLICATION One thing I will be trying to do this semester is to ascertain key values of the Gurindji people and exploring ways this can potentially be manifested in the design.
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Darwin
Daguragu First Camp and Handover Sites
Katherine
Wa ttie Cre ek
Timber Creek NT
Portion 2395 DAGURAGU ABORIGINAL LAND
WA
Wave Hill Walk Off Route
WAVE HILL WALK-OFF Jinparrak (Old Wave Hill Station): On the 23rd of August, 1966, 200 Gurindji workers and their families, lead by Vincent Lingiari, initiated a strike protesting the working and pay conditions on the station and seeking the rightful return of their lands. Fence Line route: They walked in a group following the fence line for 6.5km. As they walked through the open plains they feared being shot at by the station owners.
KALKARINDJI
Bottom Camp
e Cr
Junani (Gordy Creek Waterhole): Arriving at the waterhole in the bed of Gordy Creek they dug for water.
ek Portion 2653 WAVE HILL PASTORAL STATION
way
Portion 6643(A) Wave Hill Walk Off Route
Bottom Camp: As the wet season approached, the Gurindji moved to Bottom camo, seeking shelter against the limestone ridge, the Gurindji consturcted humpies constructed humpies for protection from the rain.
Hi g
h Hig
e
ti n e
Bu
nt
in
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Libanangu (Victoria River Camp): Crossing the Wave Hill escarpment they headed toward the Victoria River Settlement. They were joined in the river bed by others in the community increasing in number to 250 people. hw ay
Victoria River Camp
c to Vi
LEGEND Listed place
ria
Wattie Creek: In March, 1967 the some of the group established the camp now known as Daguragu, under a nutwood tree (National Heritage List, 2006).
Junani Gordy Creek Waterhole
Wave Hill Walk Off Route National Heritage List - Inclusion Place ID: 105897 File: 7/05/008/0001
Sources: Cadastre for Australia (NT) RoadNet Comprehensive - Roads RoadNet Comprehensive - Main Rivers and Waterbodies © 2007 MapData Sciences Pty Ltd, PSMA Australia, Australian Coastline 1:100,000 © Commonwealth of Australia (Geoscience Australia), 1990 Produced by: Heritage Division Projection: GDA94 Zone 52, Date: 9/8/2007 Canberra, © Commonwealth of Australia
Fence Li
0
0.5
ne Rou
te
1 Kilometers
Scale 1:60,000
Wave Hill Walk-Off Route (Commonwealth of Australia, 2007)
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Jinbarak (Old Wave Hill Homestead)
APPLICATION As the Wave Hill Walk-Off is central to my design I have I revisited it. My 2019 booklet can be referred to for a more indepth look at the lead up to the walk-off, the Walk-Off and the result of it. Here I have looked more closely at the distinct stages of the journey of the Walk-Off. This information has been used strongly in developing my concept diagram and in informing my designs emerging from it.
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A HANDFUL OF SAND, 1975 On the 16th of August, 1975 Gough Whitlam famously poured a handful of sand into Vincent Lingiari’s hands, symbolising the legal return of Wave Hill Station to the Gurindji people. From the very beginning the disparities between local realities and political workings was evident when the airstrip was too short for Whitlam’s plane and it hurtled through the fence. Under the bough shed, Whitlam publicly congratulated the Gurindji on their victory, following their nine year ‘fight for justice’, stating ‘I put into your hands this piece of the earth itself as a sign that we restore them to you and your children forever.’ Whitlam handed Lingiari the NT Pastoral Lease 805 and a handful of sand, something which he struggled to dispose of, not wanting to offend anyone. The passing of the sand was inspired by the Wurundjeri elders placing earth in John Batman’s hands, formalising the 1835 land treaty, this gesture was reversed by Whitlam.
Gough Whitlam pours sand into the hands of Vincent Lingiari (Bishop, 1975)
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Lingiari responded to Whitlam in language stating ‘the important white men are giving us this land ceremonially... It belonged to the whites, but today it is in the hands of us Aboriginals all around here. Let us live happily as mates.’ The handover of a portion of Wave Hill Station, to be managed by Muramulla cattle station was bittersweet, as, whilst elders were at the helm, they still did not have control, government-mandated managers had been employed to oversee the operation (Ward, 2016).
REFLECTION The handover of the land acknowledged the Gurindji peoples’ rightfulness in their stand, as well as the injustices they have faced at the hands of Europeans. Something we have discussed in class is the top-down nature of the approach of physically pouring the soil from the upper hand of Whitlam to the lower hand of Lingiari. While the result was what had been fought for for many years, this top-down approach is indicative of the governments general approach and attitude towards Indigenous communities, with regards to programs and initiatives.
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GURINDJI LATE 1970s: A FRAGMENTATION OF SUPPORT
By the end of the 1970s there were around twenty Aboriginal-run cattle stations in the Northern Territory. Since Muramulla cattle company’s establishment in 1970 by old stockmen, white people in the industry were cynical. Chief minister of the Northern Territory, and ‘landlord’ of the Gurindji’s lease, Paul Everingham considered Aboriginal stations as ‘running sores and harbours of disease’. Whilst publicly declaring that ‘without land rights, self-management and self-sufficiency for Aboriginals are merely empty phrases’, the land surrounding towns was being rezoned to prevent Aboriginal reclamation of the land under the Land Rights Act. This only added to the Gurindji peoples agitation with the government. They were also given an unjustified forfeiture notice for their lease which was intended to undermine the security of the Aboriginal cattle company. As a result Daguragu announced that government representatives were no longer welcome on their country. Ironically, during this time the Muramulla company had been performing better than it ever had, but was still heavily dependent on funding. As a result, aircraft were introduced for mustering and fewer men were employed. The Department of Aboriginal Affairs believed that Aboriginal staff did little work without a ‘motivating’ white advisor. With changing management and the arrival of the Brucellosis and Tuberculosis Eradication Campaign, the impacts were massive and the BTEC dominated their work for several years. Simultaneously, alcohol had now been afflicting Gurindji peoples for nearly a decade. Resultantly the Gurindji elders’ cultures and ceremonies were drastically changing. The death of so many men from ‘the grog’ meant that traditional initiations were made impossible. Novitiates and men from elsewhere where promoted to unearned ceremonial positions to fill the roles of the deceased. With the cultural disruptions the community were compelled to take action ‘against the grog’. Gurindji man Banjo Long was employed as ‘keeper of the peace’. The Daguragu council and elders were hoping that Daguragu and Kalkaringi would become ‘dry; communities, however a drinking permit strategy was enforced instead. Community members saw drinking as
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a risk worth taking. Over the 1970s the community’s living conditions had deteriorated, possibly due to the declining sense of pride of the Gurindji. In addition to the reclamation of their country, the Gurindji viewed the education of their children as key to their wellbeing, independence and the survival of their culture. In 1974, with Daguragu being viewed as a community of fringe-dwelling bludgers, a school was built in Kalkaringi for both Kalkaringi and Daguragu children. At the school the children received a white education as the elders could not contribute in this environment of unknown kartiya and buildings. The elders, owners of the culture and language, were alienated and Gurindji knowledge was further marginalised. Only one weekly class was taught in Gurindji, and with high school aged children being sent to boarding school, the cultural divide was growing (Ward, 2016).
REFLECTION
It is becoming clearer and clearer to me how such a deep-rooted trust in kartiya was formed in the Gurindji people. White employees, frequently both incompetent and severely unknowledgeable of Gurindji culture, had come and gone for decades. Gurindji people were frequently mistreated and embezzled by these people and as a result became very distrusting and reserved around them. The communities, now consisting of an unstable combination of Aboriginal and European people, resulted in constant tension between dependence and dissolution. When in Kalkaringi last year Merilyn mentioned how there were less people to pass on cultural knowledge to. It is becoming clearer to me now how this has come about and the aspects of ‘modern’ lifestyle which have contributed to it, including alcohol and schooling.
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GURINDJI 1980s: TESTING TIMES & RESIGNATION
In 1981 at the elders’ land claim hearing in Daguragu; Gurindji, Mudburra, Malngin and Nyininy noted Traditional Owners and ascertained their connection to their land through sharing their ‘encyclopedic’ knowledge of their land. For the fist time they shared their diversity which they had previously downplayed, presenting as ‘one mob’. In 1985 the Gurindji were granted free hold title land rights over 95% of their land, with the remaining 5% granted later. The elusivity of the goals of Lingiari and other elders, societal conflicts and unending misunderstandings and betrayals by kartiya were resulting in sustained frustration and despair. The Wave Hill Cricket Club and Frank’s Bar and Grill was established and gained a liquor license, to the dismay of Gurindji leaders, and boozing was on the rise. At this time Kalkaringi’s greatest scandal occurred when a Kalkaringi policeman stole $28,000 from the deceased ‘Ma’ Hawkes who ran the Top Springs hotel. Whilst kartiya were monopolising on profitable criminal opportunities, violence and assaults amongst the Aboriginal community were increasing as traditional Gurindji punishments were criminalised. This stripped elders of their ‘judiciary’ role in society, and the younger generation realised this. Young women also rebelled against ngumpit arranged marriage practices. The combination of all these factors was fraying the Gurindji social fabric. Muramulla remained unstable, and BTEC was causing great difficulties. Advisory and managerial roles at Muramulla continued to repeatedly change hands. Similarly, their store in Daguragu was swinging between Gurindji and kartiya management, and was also facing challenges with reciprocal exchange or demand sharing. By this time every ‘Gurindji’ organisation, except Muramulla, was battling with kartiya fraud, thieving and incompetence. Frustrated, in 1982 a new strike began at Daguragu, which involved all but two households in Kalkaringi, with hopes of starting anew on another homeland. A few months later the strike dispersed.
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Jimmy Manngayarri and other Gurindji men at the Daguragu lease handover, 1975 (Tweedie, n.d.)
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“[The elders]were teaching you, and you were teaching them the kartiya way... you had to explain to them ‘look, it’s part of the guidelines, the red tape.’ We had to do everything right, so that two-way learning took place.” - Roslyn Frith
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In 1985 the BTEC ordered the removal and slaughter of half of the Gurindji herd, and hunting reached epidemic proportions. By 1986 the company had just 2,500 cattle, down from 8,600. Eventually, Muramulla collapsed. According to Kerry Gibbs ‘the dream was being lost. Their ability to maintain themselves and their own station was slowly departing’. Gurindji pride was waning. An annual Freedom Day Festival was organised to celebrate their freedom, selflessness and pride, and re-enact the Walk-Off. The first festival was a huge success, however less people returned the following year. Roslyn Frith, after finishing school in Adelaide, was elected to the Daguragu Council at the age of 19. There RF learnt how to book-keep and talk ‘up to white people.’ Three years later she was elected as council president. RF talked of the challenges of being caught between being taught by the elders and teaching them kartiya ways. The gulf between the young generation who had adapted to kartiya ways and the elders was growing, at the cost of a loss of traditional knowledge. As elderly persons died; stories, Dreamings, knowledge and songs all died with them (Ward, 2016).
REFLECTION A staggering amount of this book looks at the everchanging kartiya management of organisations, companies, schools and councils, thus it is easy to see how much disruption this would cause to the Gurindji and how it lead to such frustrations. I found it particularly hard to read about the transformation of the Gurindji peoples, particularly the elders and track mob, from being immensely motivated and proud to losing all faith, motivation and control due to white intervention. It was really interesting to learn more about Roslyn Frith (RF), a Gurindji-Warlpiri Traditional Owner, having met her in Kalkaringi this February where she was involved in the consultations. APPLICATION Having finished reading A Handful of Sand, I now feel I have a better grasp of the complex history of Kalkaringi from the 1880s to the 1980s. I think beginning to understand this history is a really important starting point for designing the culture centre, which seeks to share Kalkaringi’s history.
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GURINDJI BUSH MEDICINE In this video Violet Wadrill Nanaku, Biddy Wavehill Nangala and Peggy Wavehill Nangala are preparing and cooking various bush medicines. Bush tea was drunk in the old days a lot more by the women than it is today. It is good for you, and treats coughs, congestion and headaches. It is their traditional tea that they were taught about by the older generations, by their mothers, grandmothers and great grandmothers, and now they are ‘following their footsteps.’ The bush tea is boiled in a billy over a fire. Lemon grass is cut with an axe and stored for a long time. It can be bathed in or made into a medicinal tea for coughs, congestion and head sores. Bloodwood sap is also a good medicine for when someone is feeling sick, has a chest infection or cancer. It is also drunk for asthma and wheezing. The women were taught how to collect and prepare it by their grandparents in language, ‘they gave us this knowledge’ so they could follow the tradition. Near Kalkaringi the women also collect lemon wood, a bush medicine used for headaches. The lemon wood is boiled and then bathed in and used to smoke themselves with it. Swollen feet are put in a boiling bucket and are smoked. Heads are also smoked heads with lemon wood. Yirrijkaji and river red gum are bathed in and inhaled, and used to smoke sores and scabies. Kids sit in a hole in the ground filled with coals and are covered with the plants, Yirrijkaji goes on top, with the lemon wood and river red gum below (Meakins, 2008). APPLICATION
Cooking lemon wood bush tucker in Kalkaringi (Meakins, 2008)
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Given that my project is the design of a cultural centre I think it is exceedingly important to learn about Gurindji culture. In this video I found it interesting how each of the women emphasised that they didn’t discover these bush medicines but that they were taught it by their parents, grandparents and great grandparents, it is an old tradition. This demonstrates their core value of passing on knowledge and respecting traditions, which necessitates the design of spaces in which knowledge can be transferred in the cultural centre.
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KURRAJ (RAINBOW SERPENT) In this video a Kurraj (Rainbow Serpent) story is told by Violet Wadrill Nanaku. In the east at Karrminyjarni, people were fishing when they saw a head pop out of the water. They thought it was something edible, likely a water snake, and so they killed it. However, the snake was actually a baby Rainbow Serpent. They cooked and ate the fish and turtle that they had caught and were waiting for the water snake to cook when they noticed water spilling from the fire. They put more wood on it and tried to make the fire bigger. Water kept spilling from the snake and so the people ran away from it. But it kept streaming and clouds formed in the sky above them from its water and so they ran east to the new Wave Hill Station site. . They built shelters in the swampy area between two rivers,near the small waterhole. Two young women and two young men swam across the river and left the others. When they reached the bank they were separated. Here they made fires and shelters. Then a turtle came out of its egg. Turtles and water goanna are messengers for the rainbow serpent. The turtles went up to those by the river and put out the fires. Again the rain fell heavily down and drowned them. Looking up the saw the white underbelly of the rainbow serpent above. The others that remained near the waterhole also looked up at Kurraj and it came down and crushed them and threw them all. Kurraj killed all but two of them, it swallowed them and spat them out into a cave up north. According to Violet they still often tell children not to pick up this kind of turtle; “don’t get that one or the rainbow serpent might drown you when you get it.” When she was a child she was taken to and shown the place where the Kurraj lives above. REFLECTION
I am truly fascinated by Dreamings and the messages and values they convey as well as their links to the landscape. I am trying to research as many stories as possible to better grasp the values of the Gurindji peoples. Alongside the clear message in this story to not pick up certain turtles, I think it is also a cautionary tale of the risks of not being able to distinguish between certain animals and the value of cultural knowledge.
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Violet Wadrill Nanaku telling a story about Kurraj (Meakins, 2011)
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KARUNGKARNI (CHILD DREAMING) Karungkarni is an important Dreaming place for Gurindji people. It is the site of the Child Dreaming which is a sacred site which has procreative powers. The hills are located to the south of the art centre and the cultural centre. There are differing versions of the telling of Karrungkarni, the following is Violet Wadrill’s story. Many Gurindji children come from Karungkarni. On the hill are the two Dreaming rocks, a boy and a girl. Mothers wishing to become pregnant brush the rocks with a branch. At times, in the evenings, Dreaming children can be seen playing behind Karungkarni near the Victoria River. This dreaming was told to Violet by her mother’s sister, Ida Malyik, and was told at Jatpula (Smith, 2020). REFLECTION
Stories such as this are really important to the Gurindji people and I hope that the culture centre can be a space where Dreamings such as this can be passed onto younger generations and to prospective mothers. APPLICATION
Stories such as this are so important to Gurindji culture. As it is a dreaming, any direct/symbolic references to it would be insensitive to include in the design for the cultural centre.
Places on Gurindji Country (Thornley, 2014)
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My way of navigating these difficulties is rather than depicting the dreamings themselves, I have taken the approach of instead reflecting the landscapes of the Dreaming sites. I hope that this will be considered as an appropriate way of telling the Gurindji story but not reducing Dreamings in a tokenistic way. Consultation will be required with Gurindji people to determine whether they see this as appropriate or not.
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WIRRIJI (HAIR STRING) In this video Violet Wadrill Nanaku demonstrates how wirriji (hair string) are made. This is something lots of people do and was Violet was taught how to do it by an old man. First she was taught how to make the spinning wheel out of wire and timber and was then shown how to make the hair string. In the past, women used to make hair string for their husbands. It was used as a belt or for tying things up tightly around themselves. Women used to carry babies in coolamons on their hips, which hung from their shoulders by hair string straps.
1.
Violet Wadrill Nanaku spinning hair string (Meakins, 2008)
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Hair is collected over time when cutting peoples’ hair and is stored until a significant amount has been collected. First the hair is separated and teased apart.
2.
Then the hair string is made by putting it on a spinning wheel. The spinning wheel is rolled along the thigh to twist the hair into a string. The resulting string is then wrapped around the crossed sticks at the end.
3.
The hair string is then joined to the ball by twisting the two ends on the spinning wheel, and is wrapped around it (Meakins, 2008).
APPLICATION
This is an activity which Penny mentioned she would like to see taking place at the new cultural centre. In this video Violet creates the string, sitting down on concrete in the shade, rolling the string on her thigh to make it. My design includes shaded outdoor seating areas that are designed for sitting on the ground not just on seats, and offer the option of sitting on concrete slabs or gravel.
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ULURU - KATA TJUTA CULTURAL CENTRE The Uluru – Kata Tjuta Cultural Centre was opened in 1995, on the tenth anniversary of Uluru – Kata Tjuta being handed back to its Traditional Owners. The form of the building represents the two ancestral snakes; Kuniya the woma python woman and Liru the brown snake man, whose battle helped to create Uluru. The project involved collaboration between the architect, Anangu people and the park staff. The culture centre is an attempt to show tourists the vivid landscape of the park and how the Anangu people and their culture is engrained in it. In the centre the Anangu people share their knowledge of Uluru with the tourists. This sharing of knowledge is ‘an act of generosity, cultural vulnerability and faith in the future’ something which few tourists comprehend. Uluru itself is a profoundly sacred site for the Aboriginal clans which surround it, whose ancestors have lived there for tens of thousands of years.
Uluru - Kata Tjuta Cultural Centre (Tourism NT, 2020)
The a-material of culture of the Aboriginal people was something that complexed early European invaders. In this culture material goods were of little value unless they contributed to survival or cultural rituals. This a-material culture is demonstrated in interpersonal behaviour, gatherings, rituals, Dreamtime stories, songs, people-nature relationships and cultural obligations, all activities which when finished they disappear. However, with European ideas of economy being brought to Australia, being able to earn money has become an aspect of survival which Aboriginal people have adapted to. Traditionally painting was done on rocks, bark or the earth, but by shifting to canvas and decorating cultural items such as spears, the Aboriginal people have learned how to get by in an economic society driven by tourism. Burgess recognised, through prior experience, that the design of the building could not just begin with him starting work interviewing clients and beginning work in a linear process. He wanted to have open participation
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Uluru - Kata Tjuta Cultural Centre Design Development (Findley, 2005)
by Anangu people so that he could design a building that would be meaningful to them. He communicated via aerial imagery, which could easily be understood by the Anangu as it is the same view point they use when painting their landscapes. They developed the form of the building by drawing in the earth, and a process of going back and forth between Burgess and the community members was established. Key inclusions in the culture centre include space for performances, a courtyard for storytelling, shaded picnic tables, a traditional wiltja shelter, information desk and tourism information. The main goal of the centre is to share with the minga (literal translation ants, meaning tourists) the Anangu culture, landscape, animals and Tjukurpa (lore). (Findley, 2005)
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DISCUSSION The Uluru - Kata Tjuta Cultural Centre didn’t fulfill its original goal of becoming a building of cultural exchange. This was in part due to its location, kilometers from the nearest Anangu camp. However, is it also possible that the expectations for the building were set too high? While the building didn’t achieve its original goals it did play a role in facilitating awareness of Anangu culture and the connotations of climbing Uluru. REFLECTION I found it really interesting in this reading when it talked about how for Aboriginal people the natural landscape is the embodiment of Tjukurpa (lore) and creation, the landscape is comprised of physical
manifestations of their culture. It therefore makes sense that their culture would develop as one which does not alter, in major ways, the natural features of the landscape. Yes agriculture and bush burning occurred, but it did not do so in a way that negatively impact the landscape, and in the case of bush burning it conserved it. I also enjoyed reading about Burgess’, the architect’s, approach to design which was in ways similar to my own in terms of begin with the human fields of activity and making edges from the boundaries of these fields. APPLICATION Things to take from this design to potentially adapt to a future
design could involve the way Burgess’ buildings are linked with the landscape at varying scale, including selected views, climate adaptation strategies, subtle changes in ground level and human interactions with the building visually and physically. The way that Burgess uses physical forms of the building and landscape to create moments of rest and stillness and moments of movement is also intriguing. I have used a similar method to help mold the way visitors experience the site, inviting them to slow down and speed up as they engage with different aspects of the building. Having such an experience is particularly important for public buildings such as culture centres or art galleries.
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KARIJINI VISITOR CENTRE The brief for the project, located in the East Pilbara, was to create a place where information about the sites flora, fauna, geology, people and history could be shared, as well as providing employment opportunities for Aboriginal people and giving tourists the opportunity to converse with Traditional Owners. The centre includes a theatre, display area, offices, shaded seating and a shop. The Aboriginal stakeholders, consisting of three language groups, whilst initially given no authority, were eventually involved in a six year consultation process. This process was key in developing trust, understanding the communities cultural frameworks and developing the content for the displays. The architect John Nichols recognised that; “these are complex, demanding projects which are often hijacked to serve other agendas.”
Karijini Visitor Centre (Tom Price, 2018)
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The design is a figurative interpretation of the kurrumanthu (goanna), selected as a shared symbol by the three language groups. The free-standing Corten steel walls abstractly represent the kurrumanthu and the iron-rich landscape and surrounding gorges, thus engaging with the sites geological and cultural landscape (Pieris, 2016).
REFLECTION
A great strength of the project was the ongoing consultation process including elders from the three language groups. However, the intention to create Aboriginal employment opportunities was never properly realised in the buildings construction or post completion phases. APPLICATION
The use of animal totems in architecture is a recurring theme and something I find to be leaning towards kitsch. However, I do find this projects abstracted approach to using the goanna to be slightly more acceptable, particularly in the way it uses the “tail” portion of the building to represent the past and the “head” the future, and then using this to generate the programme. I believe that the architecture of culture centres should express Aboriginal culture from contemporary perspectives in addition to past practices and beliefs.
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AUSTRALIAN CULTURE CENTRE
Garma Cultural Knowledge Centre (Eve, 2015)
Karijini Visitor Centre (Flaneur, 2005)
Mowanjum Aboriginal Art & Culture Centre (Unknown, 2019)
Brambuk Cultural Centre (Gariwerd, 2018)
The Aboriginal clients had unprecedented amount of control over the design. Deeprooted cultural symbols and meanings within the building exemplify how architecture can be used as a story-telling device. Accommodates socio-spatial and avoidance requirements.
Extensive consultation process to create the design which is based on a goanna. The remote location means it acts more as a museum rather than being used by the local Aboriginal peoples. It is not a place for gathering and sharing but for tourists.
The consultation process lasted five years. The centre is a vibrant space for Aboriginal artists and festivals. It focuses on the passing on of the knowledge and stories of a Dreamtime spirit. The plan however is quite tokenistic. The entire staff are Aboriginal community members.
The building’s operation is dependent on tourism and therefore it’s displays are tainted to suit a tourism audience. A link to the documentary produced by Hermione Hines, Bronte Scott and Caleb MattonJohnson titled ‘Australian Culture Centres- Bower 2020’ is below: https://youtu.be/ Ucp16VX2wNs
Family, law ceremony and language are interconnected in a uniquely Indigenous way. Western cultures often place significance on material things, while Aboriginal cultures place value in process, performance and rituals. This is in part why the translation of Aboriginal culture into architecture has in the past been challenging.
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Key points:
REFLECTION
DISCUSSION
APPLICATION
• Architecture cannot always amend the ongoing cultural, social and historical issues of white Australian engagement with Aboriginal people. • Cultural centres which are primarily aimed at creating tourism, often fail to create genuine cultural exchange. • Feedback from Aboriginal communities is vital to creating successful centres.
These types of buildings are often created with the best intentions, however they frequently become unused by their respective communities. This is partly because they do not respond to a specific need and there is a disparity between those who visit the space and who occupies it. It would be interesting to see the briefs to determine their intentions.
Watching this documentary leaves you wondering how architecture can move beyond stereotypes, grasp meaning and create spaces that benefit all? It is clear that consultation is a key aspect of this, but how do you balance and negotiate opposing tourism and cultural outcomes. For Kalkaringi’s culture centre it is essential to create spaces which can be used on an everyday basis by community members. This can only be done by creating a brief that focuses on day-to-day use, taking into consideration activities such as playing cards. Another aspect to consider is the hours of use of the building, as Kalkaringi is often more active at night.
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THE LIVING KAURNA CULTURAL CENTRE PROJECT AIMS • Aid Kaurna people in developing
The Living Kaurna Cultural Centre (SA Tourism, 2020)
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a sustainable future. • Conserve and revive Kaurna culture & heritage • Conserve European site heritage • Provide indigenous cultural experiences and tourism • Provide training & education for both indigenous & nonindigenous people • Promote reconciliation between Aboriginal & non-Aboriginal communities • Exhibit locally made Aboriginal artwork and gifts
The Living Kaurna Cultural Centre, built in 2002, is located at Warriparinga, meaning ‘windy place by the river’. It is framed as a conciliation place between the Kaurna people and the city of Adelaide, created in collaboration with the Dixon and William clans. The project demonstrates how Kaurna multilayered narratives inscribed in the landscapes can be realised in an urban context. The reintroduction of a previously existing wetland to the site is an act of commemoration and provides a great mnemonic for oral indigenous cultures, thus promoting the transfer of knowledge. The site is part of the Tjilbruke Dreaming, with the springs being created by Tjilbruke’s tears. It is the starting point of the Tjilbruke Dreaming Track. Elders found the consultation process to be tiring as the facilitators were exceedingly ignorant to Kaurna cultural practices. Kaurna elder Georgina Kartanya recognised that a two-way relationship between the Kaurna people and non-Indigenous partners was essential to conciliation and shared decision making. The main aims of the centre were to create economic opportunities for the Kaurna people and to educate. A dreaming of Tjilbruke, a glossy ibis,informs the wing-shaped corrugated steel roof and the central truss column which supports it which reflects the Ibis’ body. Also featured on the site is the Tjilbruke Gateway, an instillation featuring tree trunks and sand, which tells the story of Tjilbruke, colonisation and reconciliation (McGaw & Pieris, 2014).
REFLECTION
One of the strengths of this project is the recognition of the importance of landscape to storytelling and addressing this in a way that doesn’t create a foreign landscape but instead reintroduces a preexisting one. The project has also successfully become central to Kaurna related events including performances, ceremonies and educational initiatives, while the dreaming track and biweekly mens and women group meetings attract everyday use. APPLICATION
I similarly explore in my design how landscaping can be a mnemonic for story-telling. The challenge in this id doing it in an organic way that doesn’t seem foreign or out of place.
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INTERNATIONAL CULTURE CENTRES
Women’s Centre, Pakistan (Barclay, 2018) The structure is made of bamboo, a traditionally used material, with the architect has introducing trusses to increase durability and flood tolerance. During the pre-design process there was an emphasis placed on creating a sense of pride and self-efficiency. REFLECTION
Centre Cultural Jean-Marie Tjibaou, New Caledonia (Bianchini, 2019) Navigating the competing agendas of stakeholders is challenging but essential. This project has had the Bilbao effect. The aim was to celebrate culture using traditional building methods, however, most materials were imported or prefabricated
Gathering Circle, Spirit Garden, Canada (McIlroy, 2012) There was only one Indigenous person consulted in realising this project, raising concerns over the level of genuine community consultations and is indicative of the focus on marketing and representation
Key takeaways from these precedents are the importance of a participatory approach, understanding that culture is not an exhibition, that cultural context should be learned through people, process and place, and recognising the importance of a purposeful intention and community engagement.
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Artist’s Residency & Cultural Centre, Senegal (Marshall, 2016)
The project was headed by local leaders in the community e and utilised local materials. The centre has had a positive receival from the community. Being a water source ensures the buildings ongoing use. DISCUSSION
Rong Cultural Centre, Iran (Astbury, 2019)
Successful projects consider local accessibility, high functionality and meet the users needs. The architects held numerous workshops with the community to understand their goals. This controversial project was seen by locals as a blundering of materials.
Aanischaaukamikw Cree Cultural Institute (Bosum, 2019)
This project included a collaboration with Cree elders and peoples. It respects traditions whilst also allowing for modern uses. The construction utilises traditional craftsmanship and uses local materials and allows culture to continue in a modern society.
It is interesting to look at the difference between countries where Indigenous populations are still the majority in comparison to Canada (which is similar to Australia) and the very different objectives of the different countries. Here is a link to the documentary produced by Andrew MacKinnin, Sarah Fearn-Wannan and Alexia Baikie titled ‘Culture Spaces International - Bower Studio 2020’ https://youtu.be/lMPzuxI74Sw
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CLASS PRECEDENT RESEARCH
Bunjil Place, Narre Warren (Baikie, 2020)
IN|BETWEEN, Venice Architecture, Biennale 2020 (Baikie, 2020)
Project | IN|BETWEEN for Venice Architecture Biennale 2020 Architects | Tristan Wong and Jefa Greenaway
Lexie’s first precedent selected was the Bunjil Place entertainment precinct. The architecture is inspired by the might they be improved? What do they contribute to your understanding? meeting of many paths and the eagle god, Bunjil. Given How this, the builiding must hold high spiritual significance This building and project, in my opinion, reflects a range of different stakeholders and raises the It provided insight to the complex role of of representation, ideas surrounding consultancy with otherwise there is a risk of sentimentalism and symbolism which Indigenous culture (Baikie, 2020). it really for? Through more strongly informed and reviewed understanding architects traditional owners and communities and hybrid programming. The central theme was the interpretation question - who isdevalue
Lexie’s second precedent selected was intended to be built for the Venice Architecture Biennale, 2020. It explores Indigenous and non-Indigenous identity concurrently around the theme of ‘how will we leave together’ (Baikie, 2020).
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of the land in the culture of Wurundjeri, Bunurong and Boon Wurrung people. The architectural response and designers can further the way they are thinking, to learn more about connection and design on is inspired by ‘the meeting of many paths’ and the ‘Bunjil’ the Eagle. Architecturally the first encounter these sacred lands. “Architecture needs to think more deeply about how to incorporate our knowledge systems, our creation stories and our cultural values and protocol into the built environment.” the monumentalism and spectacle of the eagle, providing a physical form that represents of Bunjil the Creator. How might this help frame your design thinking? Symbolism and formal expression: • To consider formal expression and that present tension between structural expression, materiality and the community needs. Designing with intent and considering the decisions in The project raises the question of whether or not the building has achieved its aim of holding and detail around materials and structure to reflect the needs of the users. honouring the spirit of Bunjil. Mokak answers the question with the commentary, ‘When we as First Peoples think of our creators, it is not just a moment of historical reflection. Our creators are with us at • It is not just about welcoming ceremonies and aboriginal art on display, but it is integral to this moment, as has always been the case. It’s a knowing, it’s a presence and it’s something very deep. As Aunty Carolyn Briggs has told me, “Bunjil is not just an eagle. Bunjil is a god, Bunjil is a demi, Bunjil is the ensure a cultural centre has space and place for Aboriginal and Torres Strait Islander communities to not only feel welcomed, but to feel that it is their place of connection, strength and belonging. creation. The creator of the Kulin Nation.” Bunjil Place must hold high spiritual significance that goes well beyond design aesthetic and symbolic endeavours. It is about virtue, the creation of a spiritual place, not • Consideration of how my architectural response will raises ongoing questions about just a civic space. If the building does not properly honour Bunjil, there is a real danger that Aboriginal recognition, symbolism and community space. What can I add to the conversation? What do I culture and people are being sentimentalized rather than recognized for the strength of their knowledge and what they offer others. Mere symbolism runs the risk of devaluing our stories and the world’s oldest want to add to the discussion? living cultures.’
This project, like so many others, raises the question of who is the building for? Knowledge systems, cultural values and law, and creation stories need to incorporated into architecture in ways that are more thought through. APPLICATION
It is important that culture centres include spaces for Indigenous peoples that as well as being welcoming, become spaces of belonging and connection.
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There is a focus in this design on deep listenning, connection to context, agency and Indigenous knowledge which is achieved through engaging many Indigenous and non-Indigenous creatives. APPLICATION
Museumisation of Indigenous culture is an issue to be weary of in the design for the Kalkaringi culture centre. This project moves away from it by emphasising the future and using modern technology. Architecture should also be an enabler for connections, conversations and memory.
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EAST PILBARA ARTS CENTRE
CLASS PRECEDENT RESEARCH Architect: Officer Woods Architects Location: Newman, WA Year: 2016
ce: Robert Source: FirthRobert Firth
Designed as part of a UWA Competition the East Pilbara Arts Centre, is located in Newman and small town 1200km from Perth, the original brief was to create a small building to show case local art and workspace for the Martumili artists. Instead the architects decided to supersize the brief into a large shed suitable of an array of extra cultural activities. The gallery and key spaces are fully enclosed inside a semi in/out flexible space.
Source: Robert2020) Firth East Pilbara Arts Centre, Newman (Matton-Johnson,
Caleb’s first precedent the East Pilbara Arts Centre’s intention was originally to create workspaces for local artists and showcase their art. However, the Architects decided to extend the brief into a large shed to suit a range of additional cultural activities (Matton-Johnson, 2020).
Garma Cultural Knowledge Centre, Arnhem Land (Matton-Johnson, Plan addresses2020) traditional socio-spatial avoidance
Building exterior. Source: Peter Eve
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I think this building is almost aniti-iconic in its use of a large shed-like design which doesn’t strive to become an architectural landmark. It also avoids being overly tokenistic. The architects approach seems somewhat similar to Bower Studio’s approach in terms of its openness. Creating spaces for the artists which are separate and unreachable by tourists means that the artists feel more comfortable and are not constantly overwhelmed by tourists, this is a valuable consideration.
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strategies.
Caleb’s second precedent (Matton-Johnson, 2020) revisited the Garma Cultural Knowledge Centre which includes learning and cultural function spaces and is tourism hub. It is based on a two-way knowledge transfer, a Yulngu practice combining Aboriginal traditions with outside mediums (Matton-Johnson, 2020) This project had similar intentions as the Kalkaringi culture centre with regards to its primary focus being on the everyday use by the local community and it also being a key building for their annual festival, which can be likened to the situation in Kalkaringi and the Freedom Day Festival. The building is a similar distance from Darwin as Kalkaringi so it is interesting to see its construction approach which uses a prefabricated framework. In my design I have used precast concrete for its similar benefits.
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Mater
CLASS PRECEDENT
representation of Waagyl, as in the law, Waagyl can only be glimpsed, never seen. A yarning circle holds conversations between generations and vertical timber posts are engraved with the names of Nyoongar people who were dispossessed of their RESEARCH land. Screens in this space show footage of Elders speaking, or Andrew’s first precedent Bowaliother Visitor archival Centre inimages and film. Andrew’s second precedent revisited Bilya Koort
Kakadu National Park by Glenn Murcutt & Troppo Boodja (MacKinnon, 2020) which aimed to educate Outdoor landscaping for connecting thecultural build-and environmental Architects aims to interpret place and share the stories was importanttourists on Aboriginal of the people and land, and secondly aidlandscape tourism knowledge. ing toto the and creating space for leisure and cereand education. Consultation and collaboration monies. Therewas is a permeable timber batten facade that looks REFLECTION included in the design process, onto construction and the river and creates shelter and shadow for the linear veThe novel Sand Talk by Tyson Yunkaporta speaks occupation of the building. Therandah building’s siting, The street side facade walkway. is clad in black zinc to about the importance of yarning in Aboriginal program, colour palette and local materiality are create privacy and an acoustic barrier. The black cladding apculture, a traditionally oral culture, in the transfer intended to reflect stories of place (MacKinnon, 2020). pears to be quite harsh and genericoffor a building this kind. connections. It knowledge andof strengthening Perhaps a more considered street facade would have created REFLECTION is therefore interesting, and perhaps indicative of for people passing by. The balance between The linear nature of the buildingmore alongmeaning with lengthsuccessful consultation, that this projects includes the privacy and public to achieve. Thecircle idea spanning verandahs create a more structured journeyaccess is very hard design of a yarning toof hold conversations. through the building. embedding the stories into every detail is very important, and APPLICATION
Bowali Visitor Centre (MacKinnon, 2020) 41
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it provides a more subtle approach APPLICATION than literal representation.
I recognise that creating a more structured journey through the building has both pros and cons associated with it, however I think that a less structured building or perhaps a series of buildings Bower 2020 would be more appropriate in Kalkaringi, with a series of informal spaces to spark engagement in a less controlling manner.
I think the inclusion of yarning spaces or spaces for informal gatherings will be vital in ensuring continued community use of the Kalkaringi culture centre. From observations when in Kalkaringi it is clear that there is a need for more shaded spaces for people to talk or sit almost in silence. Given this recognised need, if there are well designed spaces, then it stands to reason that people will use them.
Bilya Koort Boodja, Centre for Nyoongar Culture and Environmental Knowledge (MacKinnon, 2020) 43
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TJULYURU CULTURAL & CIVIC CENTRE
Tjulyuru Cultural and Civic Centre (Gillam, n.d.)
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Internal Courtyard (Dennis, n.d.)
Designed by Insideout Architects, the Tjulyuru Cultural and Civic Centre in Warburton is owned by the shire which consists of 2000 Yarnangu peoples. The long, low building is a hub for both visitors and locals. The buildings include exhibition areas, a gallery shop, cafe and a community administration centre. The internal courtyard includes trees, rock holes, ground patterns and places for fires, sitting and talking. Insideout worked from Warburton for the entire duration of the project. According to the architects, the initial consultations were slow as they learnt to work together across cultures. The design process was mostly oral, asking questions rather than using drawings. The architect took time to visit cultural sites and discuss what was special about them and how the colours change, ingraining himself in the culture. The architect attributed his ability to talk to both females and males to his wearing of trousers and short hair appearing somewhat androgynous or neutral. At Tjulyuru the sacred and temporal are fused, which is the overarching concept for the building and landscaping. A combination of outsider contractors and Ngaanyatjarra were employed in its construction. The nationally recognised art gallery portion of the building, consisting of 300 paintings, is the largest Aboriginal art collection in Australia that is owned and controlled by Aboriginal people. Upon completion, a Ngaanyatjarra woman said to the architect ‘thank you for listening to us and doing things the right way,’ this was more important to the architect than the prestigious awards they received (Noble, Dennis & Larkins, 2019).
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The design avoids common motifs used to express Aboriginality such as references to totems or ancestral beings and curvilinear forms. Instead it uses the materials and colours of the landscape. It also has numerous access points and doors to accommodate avoidance relationships. The architect’s engagement with the community and their feedback, demonstrates their priorities. APPLICATION
Flexibility in plan, as opposed to linear progression through a building supports Aboriginal living practices. An arrangement of spaces from public to private/ secret supports kin-related etiquette and respects Aboriginal knowledge systems.
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BOWALI VISITOR INFORMATION CENTRE The Bowali Visitor Information Centre is located near Jabiru in the Kakadu National Park. It was designed by Troppo Architects and Glenn Murcutt and involved collaboration with Bininj/Mungguy traditional owners. A sheltered timber verandah is the main circulation of the building. The core of the building contains an art gallery, office, cafe, library, theatre and interpretive displays. Solid walls are used on the core of the building, with a floating verandah branching from this, suggesting the space is a transition space between the natural and built environment. The design was guided by three themes. The first was using Aboriginal rock art to inform the linear plan with an overhanging skillion roof which resembles rock shelters. Secondly, the building responds to the local Aboriginal peoples’ connection with the land. Lastly, the design considers the constraints of its tropical climate. Thus, according to the architect, the building responds to Aboriginal culture, interprets the surrounding landscape and respects its environment. The roof collects rainfall in monsoon rains, which falls like a waterfall into a creek below, in this way it both accommodates and accentuates rain. The shadows created by the timber screens form a transition between nature and the built environment. The rammed earth walls have been criticized as being ‘tough gestures’ and creating ‘landscape domination’ that conflict with the ‘respectful separation’ of the building from its surrounds. The building considers the ‘informal’ movement patterns of the local Aboriginal people as is demonstrated in the indirect approach to the building. The building itself is approached from the side, instead of from the front, to reflect how Aboriginal peoples approach rock shelters. The project is seen as an architectural success, but fails in terms of Aboriginal authorisation, participation and use (Mallie, 2009).
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Bowali Visitor Information Centre (Troppo, 1993)
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The objective of this project are quite similar to the tourism side of the objectives of the Kalkaringi Culture Centre. The Bowali Visitor Centre is a starting point to explore the surrounding naturally and culturally significant sites and provides visitors with an introduction to Aboriginal art and culture. This is very similar to the tourism objects of the Kalkaringi centre as being a starting point to explore Kalkaringi. However, whilst the main focus of the Bowali Visitor Centre is on visitors and tourists, the overwhelming focus of the Kalkaringi Culture Centre is the Gurindji people. APPLICATION
There are various aspects to this design that are interesting and potentially applicable to Kalkaringi, one of these being the buildings approach. The Bowali Visitor Centre is approached from the side to reflect Aboriginal movement patterns. This resonates with my experiences in Kalkaringi and our cultural training which suggests against directly approaching peoples homes. The Bowali Visitor Centre is a very linear design with a meandering path through the building which reminds you of the importance of the journey, not the final destination. The idea behind this is strong however, I think the journey through spaces is too prescribed in this instance. Visitors should be encouraged to explore and decide for themselves the order in which they visit spaces. The use of shadow, created by timber screens, is effective in blurring the line between the built and natural environment. I think it softens the presence of the building, and is a design feature I have used in my designs.
Sketch of Bowali Visitor Information Centre (Fromonot, 1995)
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My design for a culture centre avoids the use of traditional Indigenous shelters as design inspiration, such as the rock shelters in the Bowali project, as doing so may worsen the problematic misrepresentation and primitivisation of contemporary Indigenous peoples, cultures and identities.
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CONSULTATION TECHNIQUES In order to overcome the enduring history of making decisions for Indigenous peoples, not with them, collaborative consultation is vital. Moving away from this paternalistic history of postcolonial top-down approaches, bottom-up projects with grass roots origins focus on continued consultation and collaboration with indigenous peoples and have been shown to have more successful outcomes for all involved. Given the highly contextual nature of each project, there is no magical set of steps that can be followed to create effective consultation. Instead, each project should be approached by placing a high value on developing cultural competency, relationships and communication techniques to generate effective collaboration so that Indigenous peoples can be the true driving force behind each project. Approaches are framed into two categories: top-down and bottom-up. Top-down methods stem from government and Indigenous organisation’s policies, whilst bottom-up methods develop from the best practices of people working directly with communities. Consultation is essential in understanding location-specific considerations that only local Aboriginal people know, hearing the community’s specific needs, understanding and developing shared goals and ensuring the ongoing success of the project. Past consultations have failed due to operating on uninformed assumptions, limited consultation, not making allowances, unfulfilled promises and lacking cultural competency.
Model-making to assist consultation process (Haar, n.d.)
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Architects need to realise that Indigenous peoples have answers, and by working together in a two-way knowledge exchange the collaboration can create rewarding and valuable community specific designs. This in turn is dependent on building sustainable relationships which allow architects and stakeholders to work together to create successful built outcomes.
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Cultural competency: • Gendered knowledge restrictions • Disproportionate mixed gender interactions • Avoidance relationships • Eye contact and handshaking • Face-to-face interaction • Shared responsibility • Respectful silence Participation in decision making: • Respectful, culturally-competent staff • Transparency • Openness • Opportunities for input • Encouraging high levels of control Building Relationships: • Visiting communities • Providing ongoing connection • Attending community events • Off-duty socialising
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Building trust: • Establishing Consistency • Following through on promises • Setting deliverable goals • Openness and honesty Reciprocity: • Ties into demand sharing • Facilitate independence • Shared responsibility and
decision making • Helping Aboriginal people take action • Being willing to share Respect: • Respect of expectations, cultures and communication methods • Appropriate personal appearnce and communication • Respect for silence • Avoiding personal or direct cultural questions • Understanding the communities history
Time: • Time investment in relationships • Time investment in consultations • Avoid cutting costs on consultation • Allow for delays and disruptions Communication: • Consider enlisting interpreter • Use physical models and visual representation • Clear and concise language • Awareness of body language • Actively listen • Give time for people to speak Participants: • Awareness of knowledge restrictions between community members • Consult a cross-section of people • Give early and repeated notice for consultations • Have both formal and informal consultations
Best practice, bottom-up approaches to consultation require building reciprocal relationships and ensuring continued collaboration throughout the project, from conception to completion, through multiple fronts. Collaborative consultation acknowledges that Indigenous peoples have answers, and by working together in a twoway knowledge exchange our collaboration can result in successful designs specific to the community. The documentary myself, Leif Canuto and Annabelle Roper created on this topic can be found on youtube by searching ‘Consultation Techniques - Bower Studio 2020’ or https://youtu.be/ BUrTdmUhmR8
REFLECTION Whilst all the techniques on the opposite page are key to best practice consultation perhaps the most fundamental aspect is recognising that each individual community and each individual project is so intrinsically unique and comes with their own strengths and challenges that need to be evaluated and addressed on a case by case basis given the specific conditions and contexts. As such these techniques need to be understood and applied as appropriate for the context. As I mentioned in the documentary, I am still not convinced as to whether any documented examples of best practice consultation really exist. The concept of Indigenous consultation is still relatively new, and even today Indigenous consultation isn’t widely occurring and it is clear that given the number of projects that have failed to reach their goals, the practice of consultation still needs improving, which can only be achieved through continued attempts. I found researching this topic to be really valuable in deepening my understanding of consultation. While in Kalkaringi last year I was often too busy or too tired and would take the tutors advise as gospel and would not question the reasoning as to why we were consulting in such ways. Through researching the topic I now understand why the approaches we took were so important and the reasoning behind them.
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INTERVIEW WITH ALEXANDER GILES Leif arranged an interview for us with Alexander Giles who was a community consultation facilitator for Central Land Council. The following is a summary of the key points taken form this interview. Essential aspects of consultation: • Learn who it will be making the decisions, including individuals and community groups
• Identify the key stakeholders and who should be consulted with • Establish a working group, or work with an existing group, for continued consultation • Begin with an introductory meeting open to everyone to attend and then arrange smaller groups, often these groups will be self-nominated
Essential aspects of consultation: • Be explicit about the degree and range of involvement and encourage their control. Higher levels of community contral usually engenders a greater sense of ownership over the project
• Consultations should be a mix of meeting and informal consultations • Pre-meeting consultations can be more casual, less politically charged and allows more time for answers • Allow participants time to think over meeting content and organise additional meetings for decisions to be made on previously discussed items.
Relationships: • Having strong relations with trust and comfortability will mean that people will be more inclined to ask questions and attend meetings
• Embedding oneself in the social fabric you will know more about where communities might be and what they might be doing and whether there are cultural reasons for people not being there
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Communication strategies: • People need to understand and be comfortable with language, get an interpreter if needed
• Silence is really important when questioning to allow people to think of an answer • Give the community the power, ask them how, when and where to do things • Visual material such as maps, drawings, photos and models are really valuable
Meeting process: • Ask whether all the right people are present before beginning
• Introduce yourself and where you come from • State the agenda and ask if the order of the meeting is good • Work with the chair (usually a TO) to keep the meeting on track • Establish the meeting environment with phones off • Discuss intended items • If the meeting digresses then topics can be moved to the end of the meeting • State a summary of the meeting at the end • Discuss the next steps and goals • Discuss any other business which was brought up during the meeting • Get meeting feedback after the meeting
REFLECTION It was interesting to hear how Central Land Council run their consultations and the strategies and methods that they adapt to deal with uncertainties. From what I have gathered from this conversation is that the way Central Land Council consult is quite different to how Bower consults with communities. However, this difference may be in part due to differing agendas. Central Land Council meetings may need to stick more to schedule to cover necessary topics, whereas Bower consultations in my experience are more flexible to allowing to the meeting go off topic if lead in such directions by community members which can provide valuable insights for designs
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PROTOCOLS FOR SHARING INDIGENOUS
KNOWLEDGE IN COMMUNICATION DESIGN
1 2 3 4 5
6 7 8 9 10
Indigenous led: The representation of Indigenous creations in architecture and design must be led by Indigenous peoples. Indigenous designers connected to the relevant community should be engaged in the design process and Indigenous staff and consultants employed where possible. Self-determined: The rights of Indigenous peoples to enable the design representation of their culture must be respected in design practice. This includes the implementation of traditional knowledge. Community specific: Cultural protocols specific to the local community must be followed to ensure respect for diverse Indigenous culture. Designers must be aware of the diversity and sensibilities of cultures, including avoidance relationships, gender-specific knowledge and practices, and preference for same-gendered interactions. Deep listening: Courteous and effective interaction and communication practices include culturally-specific, respectful, personal engagement behaviours. Understand indirect communication styles, that English may be their second-plus language, non-verbal cues, body language and that clothing must be appropriate. Impact of design: The implications and reception of all designs must respect Indigenous culture. Designs should reflect the cultural values and laws, empower Indigenous peoples, reflect cultural identity and avoid the depiction of negative stereotypes or confidential or personal information.
Projects that incorporate the representation of Indigenous culture, require the designer or architect to adhere to the above ten principles of the Australian Indigenous Design Charter: Communication Design (AIDC:CD). The guidelines provide protocols for the making, distribution and ownership of Indigenous arts, design and architecture (Kennedy & Kelly, 2017).
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Indigenous knowledge: Enquire as to as to whether any aspects of the project can be improved with Indigenous knowledge and ask if there is an Indigenous story to tell in the project. Shared knowledge: Respectful collaboration, co-creation and procurement methods must be implemented when sharing Indigenous knowledge. Respect is earned through actions, and requires patience, sincerity, transparency and inclusiveness. Legal and moral: Permission from appropriate persons must be obtained when required and cultural and intellectual property rights must be respected and honoured. Australia’s traditional custodian notice can be used on designs. Reconciliation Action Plan: A Reconciliation Action Plan which incorporates the Australian Indigenous Design Charter: Communication Design principles should be developed. Charter implementation: Implement Australian Indigenous Design Charter: Communication Design guidelines to protect Indigenous design integrity. Elders and/or authority figures must be consulted to identify sacred, sensitive or religious issues (Kennedy & Kelly, 2017).
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These ten points are crucial to Bower Studio’s designs and projects. Indigenous knowledge must only be shared and represented with the consultation with and approval by the relevant Indigenous peoples and communities, in order to achieve successful outcomes.
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ABORIGINAL IDENTITIES IN ARCHITECTURE Shaneen Fantin, is critical of attempts by architects to re-create aboriginal ancestral histories in built form. Fantin argues that the abstraction of aboriginal ancestral history through architectural design and the use of buildings as semiotic devices treats aboriginal heritage and culture as though it is an object capable of being readily created elsewhere rather than as a complex and deeply spiritual subject matter. Aboriginal identity is best imbued in architectural design by involving aboriginal clients in the design process, by seeking client authorization and through showing respect and reverences for existing places and histories without attempting abstract them into tokenistic devices in form, plan and section. Three important principles underpin this: • leaving ancestors in the country, • Aboriginal custodianship and identity with ancestors, places and design, • Aboriginal identity first through occupation and then through representation. Fantin highlights that Aboriginal cultural sites develop their meaning and significance from the Aboriginal ancestors who either created or inhabit them and the act of creating representations of those ancestors through building design ignores the significance of ancestral stories and their intrinsic connection to specific places. Accordingly, it is crucial not to divorce ancestral stories from the country to which they are connected by attempting to re-create them in architectural form which Fantin argues leaves the custodian’s of those ancestral stories and places disenfranchised and without control over how their history is presented.
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Similarly, attempts to re-create an ancestral story in built form risks ignoring Aboriginal kinship and politics and creating divide within the community. Fantin submits that those within the community with custodianship over particular ancestral stories or places that have been reflected in the built environment are more likely to claim ownership over such structures or places to the exclusion of those in the community with different kinship stories Lastly, Fantin argues that well designed buildings that satisfy the needs and wants of the particular community will develop their own significance as a place of cultural identity through use and occupation over time. That is, it is through the use of a building, rather than through attempts to transfer cultural meaning from a traditional site to a new structure, that a building becomes imbued with Aboriginality as a special place that serves the needs of the community and thereby facilitates the continuation of culture (Fantin, 2003).
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I have incorporated this into my design by drawing inspiration for my design from the Wave Hill Walk-Off rather than by attempting to re-create any Dreamtime stories. By focusing on the Wave Hill Walk-Off my design incorporates something that is important to the entire community rather than just one particular kinship group. Therefore, community members will not feel excluded. By designing a culture centre with room for painting, story telling and education that will allow local customs and traditions to be passed on for generations to come, allowing the building to develop as a place of cultural identity through its users over time.
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INDIGENOUS CULTURAL CENTRES & MUSEUMS
Anoma Pieris in her book, Indigenous Cultural Centers and Museums, expresses very specific concerns about the architecture profession’s ‘overwhelming focus’ on producing aesthetically compelling architecture used in order to promote tourism but which ignores the pragmatic social beliefs of local Indigenous communities. Pieris argues that Indigenous facilities such as museums and culture centers that are designed as ‘tourist commodities’ have no future unless they can be programmatically linked to the sustainability of broader local communities. Indigenous architecture that caters more to the needs and wants of tourist, rather than the needs and social values of the Indigenous communities for whom they are built, risks the acceleration and objectification of Aboriginal culture as a form of tourist attraction. This has arisen from a lack of indigenous involvement in the design process which has resulted in static urban architecture that satisfies a commercial purpose and which fulfills the product mandates issued by those responsible for funding Indigenous museums and culture centers – normally white governments and philanthropists. To combat this perceived commodification of Indigenous culture, Pieris emphasizes the importance of Indigenous collaboration and participation in the design process so as to build trust and confidence that empowers indigenous leaders to voice their concerns and desires regarding key community infrastructure. Such collaboration, Pieris submits, requires consultation with all members of Indigenous communities ranging from Aboriginal Elders to artists, creative intellectuals and ceremonial leaders. Cultural requirements must be recognised and given priority above the usually commercially driven aspects of architecture such as functionality and aesthetic appearance. When given the opportunity to build community infrastructure such as culture centers, Pieris highlights that it is the architects responsibility to produce a product that satisfies the community’s main goal which is usually the collective advancement of the community through the provision of a safe environment that is familiar and culturally appropriate for all members of the community (Pieris, 2016).
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Pieris’ comments are a pertinent reminder of the importance of not letting commercial factors, personal aspirations and external pressures from stakeholders like government bodies cloud the importance of ensuring that the fundamental needs of Indigenous communities are satisfied when designing community infrastructure. Where the needs of local communities are not front and center in the minds of architects when designing community projects such as culture centers, there is a significant risk that the utility provided by that project to the community will be compromised. (Pieris, 2016)
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TOWARDS A CULTURALLY APPROPRIATE INDIGENOUS ARCHITECTURE
The Dreaming (Edwards, 1998)
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‘Questioning ‘Authentic’ Aboriginal Architecture: an analysis of recent cultural center designs’, argues that the simplification, mystification and appropriation of Aboriginality in architecture denies the potential for architecture to be used as a tool to meet the needs of local Aboriginal communities. Current design approaches that rely on Aboriginal totems and Dreamtime stories as sources of design inspiration largely exclude, exploit and appropriate Aboriginal peoples and culture. This argument is launched on the basis that such design strategies frame Indigenous peoples as a singular community focusing on a series of unchanging and inherently mythical properties and fails to embrace the uniqueness of each Aboriginal community and their place in a changing modern society. The representations of Aboriginal Dreaming Ancestors and animal totems which, often obscure the true meaning of Aboriginal Dreamings and creates ‘static’ or ‘closed’ buildings linked to a particular story or totem resulting in the meaning of the building being left incapable of development and modification over time. Mallie blames this approach to design on consultation processes between architects and Indigenous communities that have historically been intrusive, frequently unsatisfactory and culturally inappropriate that have led to the creation of architecture that fails to meet the needs of Indigenous building users and contributes to the construction of buildings that have a limited useful life and which lack any form of cultural significance (Mallie, 2009).
REFLECTION
This text emphasizes the importance of creating meaningful, user friendly and client focused architecture that meets to specific needs of the intended inhabitants. Mallie encourages architects to move away from a kind of ‘cookie-cutter’ approach to Aboriginal architecture and let the bespoke, unique needs of each individual community be the driving force behind all design decisions. REFLECTION
I have tried to draw inspiration from the Wave Hill Walk-Off rather than totems or Dreamings, the Walk Off is a source of pride of the community and something they are excited to share/celebrate.
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GURINDJI CULTURAL CENTRE 142
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INTRODUCTION The following chapter of the booklet looks at my design development for the Gurindji Cultural Centre. This includes an esquisse for the Karungkani Arts & Culture Centre, consultations with the community, the development of my design and a justification of the design. The culture centre provides spaces for the community to use and engage with. It is a place where Gurindji culture is celebrated and cultural knowledge is passed down from generation to generation. The culture centre also contributes to tourism and the economy through the display and sale of local art, sharing the Gurindji story, and potentially facilitating communication between tourists and Gurindji peoples.
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INTRODUCTION | 145
KARUNGKARNI ARTS ESQUISSE BRIEF
The Karungkarni Art and Culture Centre require a design solution which addresses their needs for storage and exhibition. At present canvases are stacked in piles or leaning against walls subjecting them to risk of damage by both environmental factors such as dust, wind, flooding, as well as physical damage by people or animals. The capacity for the art centre to display works will also need to be improved, and consideration for outdoor displays for the Freedom Day Festival is required. CONSIDERATIONS
Key factors that should be considered in the design include robustness, sustainability, materiality, buildability, affordability, site and orientation.
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REFLECTION
In class my group designed a moveable trolley with a cabinet at the base to store artworks and a steel mesh display frame on the top with a series of rails in between to create an adaptable display. While I like the basis of this design, I intend to simplify it in my proposal.
I worry that the turning mechanisms may be overly complex and unfeasible for Kalkaringi. Perhaps rather than a moving display a stationary hanging display might be more appropriate.
This design was in many ways quite similar to ours. The modular nature allows it to be adaptable to both displays in the art centre and during exhibitions.
This was group threes initial model that explores using foldable display screens in and outside the art centre. However, it doesn’t consider storage.
This model develops group 3’s initial design to have the folding displays extend from a central unit which could potentially be used for storage. The scale however is unclear.
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KARUNGKARNI PRESENTATION
The Karungkarni Art and Culture Center has several key roles in the community. It promotes and arranges cultural activities, records and preserves culture and language through books, and most importantly, it is a place where art is made and displayed for sale. My design centres around creating a large display unit with inbuilt storage and A-frame removable display screens. The frames are made of angle with a perforated screen face-fixed to hang art. The perforated screens bring the aesthetic of the art centre’s entrance door into the building itself, whilst also limiting the views of the stored works behind. One side of the display unit consists of two storage sections for canvases, allowing visitors/potential buyers to flick through the artworks. A space at the base allows for storing artefacts or rolled unstretched canvases.
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The other side of the display unit is used to store six A-frame display boards, each with works displayed on them for storage or ready for display. The frame of these displays is made of outward-facing 60EA members, with perforated screen inset into the frames. This is to protect the artwork from damage and dust when being stored or moved. The display frames can easily be carried and moved by two people around the Karungkarni Art and Culture Centre to create adaptable displays which can be moved about as the configuration of the art centre changes to suit certain art activities. They can also easily be transported and set up outside for the Freedom Day Festival or any other events or exhibitions.
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REFLECTION This week I was juggling this esquisse and creating/refining the designs for the shipping containers so I did not put as much time and effort into this as I would have liked. Having seen people last year fall into the trap of creating complex designs, my focus for this esquisse was to create a robust and constructible design which is as simplified as possible. I am a very pragmatic/practical designer and I think in this esquisse perhaps I may have over simplified it to a point which has compromised the design.
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PRESENTATION FEEDBACK REFLECTION Penny’s feedback for my design was to consider forkliftability for moving the display unit in the event of flooding and for taking it to the site of the Freedom Day Festival. This is a great idea and is something which I had not considered. I believe the steel construction of the unit is robust enough to tolerate being forklifted, however, to make the process easier perhaps slots could be built into the base for lifting. Adding slits to each side of the unit for sheet metal to be slid into to seal off the ends of the unit would reduce dust and prevent
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PRESENTATION REFLECTIONS & FEEDBACK Annabelle’s feedback was that hanging artworks by string has not worked in the past. I liked the range of approaches used in this design, perhaps finding a way to unite all the approaches be effective.
While this design may fall into the overcomplicated category, it did effectively address issues of flooding, dust and wind. I think Damien’s sketches and how they were presented were really beautiful.
Lexie’s presentation had a strong analysis of the brief and looked at precedents which influenced her design. Penny raised concern that given the double-sided rotatable nature of the design, children may be tempted to spin the works with dirty fingers.
The draw feature of Bronte’s design was a strong suggestion that Penny thought would be particularly useful in storing artworks and potentially locking away works that had been purchased for safe keeping until they were able to collect it.
Sarah’s design split the display and storage components of the brief into two separate designs, whilst maintaining a sense of unity between them. I think that the use of timber frames softens the harshness of the metal, however I’m not sure how this would be constructed.
Gaby’s design similarly split the two aspects of the brief. I think the adaptability of the storage top to be used as either a display for artifacts or for a workspace is an interesting concept. It may be difficult to sit around however as your legs wouldn’t fit beneath it.
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Penny remarked that the use of ledges to support the artworks doesn’t allow for different sized canvases. She also noted that the triangular shape reduces storage.
Andrew’s design is particularly good for outside displays as it is large and versatile. However, Penny thought that you may not want to encourage people sitting near the works.
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PRESENTATION REFLECTIONS & FEEDBACK Hermione’s design was quite similar to Damien’s and therefore attracted similar feedback from Penny. Rather than having a series of these hanging displays, I think perhaps having one that runs the length would be more effective and reduce the number of moving parts.
Shalini’s storage design which consisted of several screens on rails was similar to an earlier design I had had. However, I had moved away from this as I though the use of multiple rails would mean a lot of moving mechanisms and be overly complicated. While Penny approved of Leif’s design of an ‘art cart’, she thought that how they operate and store art could be refined. I think that by using the central space of the art cart in a way similar to Gaby or Shalini’s approaches could work quite well.
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GENERAL FEEDBACK • General feedback for the class from David was the importance of focusing on simplicity and robustness and
minimising dust and breakage. Penny also mentioned that metal may not be the best material for artwork displayed outdoors given the high temperatures which might affect the art.
• When presenting, it is important to consider how you want to tell your story when configuring the slides.
Perhaps the best way to order slides is to show the final design at the very beginning so that people are familiar with your design and intention, and then continue with how the design works and details.
• CAD drawings can often be hard for people to connect to. Adding features of the Kalkaringi landscape such
as the red earth or people can make drawings more relatable to people in Kalkaringi..
• An important consideration in this esquisse as well as future designs is the relationships between inside and
outside and how achitecture can navigate this. .
• Another key factor that should perhaps have been given more consideration in the esquisse is the intimate
environment of the art centre. There are lots of people who use and interact in the centre, as well as the occasional visit from dogs or pigs.
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INTRODUCTION TO PROJECT: PHIL & PENNY Phil (Gurindji Aboriginal Corporation director) and Penny (manager of the Karungkarni Art and Culture Centre) introduced us to the vision to build a culture centre in Kalkaringi, something which has been in the works for many years. The Karungkarni Art and Culture Centre experiences flooding annually, with the potential for the flood height to reach 2m. As such all the works are moved out of the art centre each year, thus necessitating the need for another building to accommodate finished works and artefacts, freeing up the art centre to be used purely as a workshop space. The cultural function of the art centre should also be moved into the proposed culture centre, including language, traditional cultural activities (past and ongoing), customary objects collection and the making of boomerangs, coolamons and nulla nullas. Historical photography and digital recordings will need to be archived, with the intention to bring home the national archives and making the culture centre a focal point for old and contemporary knowledge, creating a cultural centre that is first and foremost a place for the Gurindji peoples. Secondly it should be a tourism destination which also leads tours of important sites and the Wave Hill Walk-Off. The building should include an indoor area for playing films as well as an outdoor movie theatre and communal space, as film is an important tool in transmitting knowledge. The cafe, administration, film-making/ recording and ongoing training sessions offer opportunities for Gurindji participation and employment. A reception is required for locals and tourists, noting that it will be busy during the Freedom Day Festival but otherwise will have few tourist visitors. It should also function as an art gallery with a touring permanent and rotating display of artworks. There should also be a reference area including books, maps and digital archives. The site selected is in a prominent position at the intersection of the Buntine Highway and Daguragu Road, and is Native Title land which means that Gurindji peoples can negotiate with the government. It is located near the shop, takeaway store, ATM machine and the caravan park, creating a tourism precinct.
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KALKARINGI CULTURE CENTRE WORKING BRIEF The Kalkaringi community requires the design of a culture centre. First and foremost, the culture centre should provide spaces for the community to use and engage with. It should be a place where Gurindji culture is celebrated and cultural knowledge is passed down from generation to generation. Secondly, the culture centre should contribute to tourism and the economy through the display and sale of local art, sharing the Gurindji story, and potentially facilitating communication between tourists and Gurindji peoples. Programme Key spaces to consider in the building’s program include: • Workshop space for painting and other arts • Information/tourism desk • Archival storage of photos, video, audio and artefacts • Books and art sales • Kitchenette or cafe • Gurindji and Walk-Off history • Talking spaces • Gurindji culture, language and youth • Casual spaces • Outdoor cinema / media space • Toilets and amenities • Private/sacred space for ceremony and artifacts • Painting gallery (permanent and temporary collection) Themes & Considerations Themes to explore and other aspects to consider include: • Indoor-outdoor relationships • Remoteness/prefabrication/costs • Avoidance relationships and strategies • Materiality robustness and durability • Flexibility of spaces • Environmental factors (sun, wind, dust, flooding)
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CONSULTATION WITH PHIL SMITH 20/4/20 & PENNY SMITH 27/4/20 During these consultations we discussed with Phil and Penny various culture centre precedent projects and what aspects or approaches might be suitable for application in Kalkaringi. Phil Phil’s preference was towards the decentralised design of the Uluru-Kata Tjuta Cultural Centre. He thought the modularity would be suitable for Kalkaringi. Penny Penny similarly showed a preference towards a decentralised building, as well as a non-linear building as its softer and provides flexibility for community use. A lot of the buildings and structures in Kalkaringi have a harsh appearance and it would be nice if the culture centre was softer like Uluru-Kata Tjuta.
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Phil Phil preferred the relationships between inside and outside spaces in the Bowali and Uluru centres. The design requires a balance between big outdoor spaces, such as for community meetings, and internal spaces. Penny According to Penny, when illustrating, curved shapes are used to refer to shelter and represent comfort. Key spaces that require interaction between internal and external spaces are the cafe and spaces for the community to use on a day to day basis.
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MATERIALITY
Phil Phil favoured a mix between contextual and contemporary materials to express that the Gurindji are proud of their history but are also looking forward to the future, blending the old and the new. Penny Similarly to Phil, Penny saw the potential for combining old materials with new materials. Old, contextual materials provide a connection to place, whilst contemporary materials are softer and more playful.
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INTERNAL SPACES
Penny Penny noted that curved walls are not suitable for displaying large works of art. A large collection of works currently at the Melbourne Museum will be returning to Kalkaringi and become part of the permanent collection. This collection includes at least 13 large paintings, extensive audiovisual material and prints, sound recordings include Vincent Lingiari talking the night before the Wavehill Walk-off. Old items will also be displayed such as a woomera (spear-thrower). Seating will be required in the gallery spaces.
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ADDITIONAL NOTES • Penny mentioned that Leah had ideas of the building being in the shape of a turtle. • Consider the routes of travel between the town and the social club. Should these pathways be considered in the design and if so creating shade should be considered as people gravitate towards the shade. • According to Phil tourism is seasonal and is a slight stream rather than a flood. There will be a much higher number of tourists over the Freedom Day Festival period. • The Kalkaringi school may also use this building frequently, taking the children through the exhibits and perhaps painting with the artists. Other schools in the future may also visit it. • Penny mentioned that in the past there was a machine in Daguragu that manufactured bricks from earth sourced from Mount Possum. It would be interesting to discuss with Phil as to whether he sees this as a construction possibility. APPLICATION • Bush medicine and desert gardens: Women interact with garden spaces. My design features a bush medicine garden as the artists are stimulated by interactions with outside country so consider bringing it to them. A bush garden also provides a great education tool. • Photography and archives: Locals want to be able to interact with the photography of old people. There needs to be a space for senior men and women to interact with pieces privately, that is not accessible to outsiders. • Artifact display: for visitors and young people to look at. This will include items such as woomeras. • Outdoor informal spaces: Men and women like painting on the floor. Consider creating sunny and sheltered spaces for the dry season and cool, shady spaces for the wet season. Phil suspects that these spaces will be used mostly in the mornings.
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• Large outdoor space: To be used for large community meetings, Gurindji Corp and Freedom Day Festival meetings which are currently held in the art centre. The space will need to accommodate 20-40 people for shaded meetings. Meetings are generally held after lunch in the dry season. • Internal boardroom space: to be used for meetings • Audiovisual room: to include oral recordings, as well as song and dance. It will also include custodian recordings of oral history, educational videos such as boomerang-making and traditional skills videos. • Administration area: An administration area should include sales, reception, space to exhibit art, heritage, photography, archival objects, digital store, paper pieces store, information and references (language, film, audio, heritage archive) and a flexible gallery. • Cafe or tea room: A small space with internal/external interaction providing tea and coffee, food may be brought in from elsewhere and require fridge storage. This space could provide an alternative social space to the club. I decided against having a cafe in the design and instead focussed • Displays: The exhibition features an interpretive display of the Wavehill story, Freedom Day, Whitlam and precolonial history. • Recording space: Recording facilities will be required for sound and oral recordings such as oral history or traditional skills such as boomerang making. • Dance space: The Gurindji love music and dance, and space for corroboree, dance and welcome to country would be an asset to the community.
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CONSULTATION WITH LYNDON ORMONDPARKER 30/4/20
Lyndon is part of the University of Melbourne Faculty of Medicine. He has been involved in Indigenous advocacy, research, repatriation of artifacts, policy development and negotiations. Throughout his career he has visited many culture/art/heritage centres and has a great understanding of how they function. Some of the key projects he noted included Waringarri Aboriginal Arts centre, Warmun Art Centre and the Kimberley Aboriginal Law and Cultural Centre (KALACC) in Fitzroy Crossing. Lyndon had a lot of ideas on the practicalities of art centre type buildings. I have summarised Lydons opinions and observations of existing art /culture/heritagecentres below: • Lyndon noted that a kitchenette for artists and industrial kitchen would be a useful addition. Some art centre provide a simple lunch each day for the artists. He also noted that in his experience, artists tend to arrive at art centres early in the morning and leave from 1-2pm onwards. The industrial kitchen can be used for events and large meetings as well as for meals for elders at night. Often schools will have a childrens’ breakfast program which could be run out of the kitchen. • The artists will require large undercover areas to work in. These space should be cooled or highly ventilated to enable comfortable use. In Lyndon’s experience there are generally more women than men artists using art centres. Consider designing a separate area for men for painting and carving objects such as coolamons. • Sheltered picnic tables and signage could be used out the front of the building to provide information to visitors. • Consider a lockable carport or garage for the art centre troopy. • Consider where kids might be encouraged to go and where they should stay away from. Often kids will come to art centres with their artist grandparents.
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• In front of the Waringarri Aboriginal Arts centre is a large dance space for corroboree and the coming together of different clans. This would be particularly useful for dances for the Freedom Day Festival in Kalkaringi. It could also function as a large outdoor multipurpose space. People may get changed when dancing so include a shelter which affords some privacy. The Waringarri Aboriginal Arts centre has a permanent post frame which, when in use, branches and bushes are put over the top. This gives a degree of authenticity to the dances. • Mens and womens toilets should be at opposite ends of the building, and consideration should be given to what they are placed next to. • Seeing photographs and imagery of dead people is less of an issue than it was in the past. People no longer see photographs as an embodiment of spirit. • Lyndon considered the usage of totems as a design inspiration as impractical as often there are multiple clans in a region an so choosing one animal to represent all clans is challenging. • Artifacts need to be kept at a stable temperature which can either be achieved through air-conditioning or potentially positioning the archives in the centre of a building where there is a more stable temperature. • Electricity costs can be very high in these types of buildings, and is usually paid in a pay as you go system. Consider using solar panels, as well as a rainwater tank. • Some spaces should be restricted for mens’ or womens’ business. Management strategies may include separating spaces with walls or using different entrances or exits. • A cinema space with tiered step seating could be used to host movie nights. • Interactions between visitors and artists should be considered, you do not want artists becoming the gaze of the visitors. • “Ceiling fans are a must,” airflow is crucial.
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Meeting Place ●
Building Split up
PLANNED CONSULTATION ● ●
Culture centre to become a meeting place for the Gurindji People
• The central courtyard at the Buku-Larrnggay Mulka Centre has a pond and greenery, with a large tree at the centre. This provides a cool space in the warmer seasons. • Keeping the art centre open daily and hosting lunches will help to ensure the continued use of the building by locals. • The culture centre should serve many purposes and be used in many ways including painting, ceremonial purposes, dances, production of objects such as boomerangs and hosting consultations. It should be the central hub of the community. • The gallery spaces could also be multi-functional, chairs could be brought in to accommodate community meetings. Sliding panels will allow the place to open up.
MEETING PLACE
DIVISION OF BUILDINGS
Questions:
REFLECTION This session with Lyndon was incredibly valuable. As an Indigenous person and someone who has visited and worked with many communities and art/heritage/culture centres hearing his thoughts and ideas was really helpful in helping to develop my design. The things he shared were mostly very practical but they were really helpful in developing our brief
Questions:
The culture centre will be a place to convey Gurindji values and stories amongst the Gurindji Prospect people and with tourists. Whatand areRefuge the Gurindji ● Thick walls create grounded connection to place. values you want to showcase/celebrate? What is it ● Provides a backbone to the building to come. that make Gurindji culture so special?
-Are there any specific spaces which should be separated, or placed close to each-other?
(Matton-Johnson, 2020) PROSPECT & REFUGE ●
Emphasis on outward views and connections to the town.
Questions:
(MacKinnon, 2020) RAISING BUILDINGS
-Will separating the building into separate the users feel divided?
Are there any views or aspects of the site pavilions that are particularly important to you or themake community?
- Could having multiple buildings make the spaces Buildings Raised feel overwhelming? ● Using heights to define areas
How/what would you like to be portrayed to the community and visitors?
●
APPLICATION A lot of aspects of my design for a culture centre incorporate what Lyndon advised in this session, as can be seen in the design justification section at the end of this booklet. Some of the more significant points which impacted my design included the necessity for large undercover, ventilated areas for artists to work in and the significance and spatial requirements of corroboree spaces.
Raised platform or forming mounds
Questions: Is it okay to have the building raised on deck or a platform?
From little things
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Multiple Pavilions split up the different uses and user groups Creates more informal and flexible social areas
(MacKinnon, 2020)
Big things grow
(Matton-Johnson, 2020)
Is changing the landscape by raising or lowering it appropriate given the site.? How can landscaping be incorporated into the design?
What activities are best done inside (enclosed) spaces? What activities are best done outside (open) spaces?
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Prospect and Refuge ● ●
Wall becomes display and store, housing objects. Allows for open interiors that focus on activity and connection to outdoors.
THICK WALLS
Building in Stages
Materiality
STAGED BUILDING ● ● ● ●
Gradual architecture that grows from small to big - sewn together over time See if it is working well for the Kalkarindji community Gurindji artistic expressions - painting on walls, seats and murals Proposals and funding
Questions:
In-between Spaces
What are your thoughts on staging the construction?
● ● ●
IN-BETWEEN SPACES
MOVEMENT THROUGH SPACES
Flexible spaces formed between buildings A combination of sunny, shady and enclosed spaces Blurring the boundary between indoor and outdoor
Movement through spaces ●
Design impacts how people move through and interact with spaces
Materiality Section
Questions:
From little things
Fold Away Door
Toilet
1. Starting with a place to sit & play
Store
Shelves
If the building is split up, what should/would happen in-between the buildings?
Big things grow
Materiality
2. That grows into an shaded pavilion to gather together, for talking and dance
What activities do you see yourself and others doing at the cultural centre? What is an important activity the community will want to be able to do?
3. To an enclosed space, used for enterprises and exhibition of Gurindji art
Should there be separate mens and womens spaces?
Window framing view
Wall Plan
(MacKinnon, 2020) Materiality
Questions: Where should the paths cross? Where should the interactions between locals and visitors be?
Do some spaces or activities need to be more private?
MATERIALS
(Baikie, 2020) Questions:
(Martin, 2020) CHARACTERISTICS OF SPACES
Are there any materials that clearly speak to Kalkaringi and Daguragu? Questions:
Questions Who do you see using this space?
Are there any materials that you Are or there any materials that clearly others in Kalkaringi might oppose to? to Kalkaringi and Daguragu? speak Are there Is anyglass materials that clearly a risk? Questions:
speak to Kalkaringi and Daguragu?
Are there any materials that you or others in Kalkaringi might oppose to?
involved Are there How any materials that in youthe or construction Is glass a risk? others in Kalkaringi oppose processmight do you seeto?the community? Is glass aWould risk? making Mt Possum bricks and
How involved in the construction
(MacKinnon, Matton-Johnson, Are there any materials that clearly Baikie & Martin, 2020)speak to Kalkaringi and Daguragu? Questions:
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Are there any materials that you or others in Kalkaringi might oppose to? Is glass a risk? How involved in the construction process do you see the community? Would making Mt Possum bricks and
rammed earth walls be of interest? How involved in the construction process do you see the community? process do you see the community? Would making Mt Possum bricks and Would making Mt Possum bricks and Are passive cooling strategies rammed earth walls be of interest? rammed earth walls be of interest? important or will the buildings rely on
Are passive strategies aircooling conditioning? important or will the buildings rely on air conditioning?
(Martin, 2020)
(Martin, 2020)
Are passive cooling strategies important or will the buildings rely on air conditioning?
What might people use tables and seating for? Does this seem like a welcoming space? How could it be more welcoming?
Are there any spaces the visitors shouldn’t be walking through?
REFLECTION We put together this series of diagrams and images for a planned consultation with Double R. Unfortunately the consultation never happened, which was understandable given the circumstances but disappointing nonetheless. It was still a valuable exercise in putting together ideas and discussing and developing in the group. We also put together a long and well-thought through list of questions which while doing made us think deeply about the design.
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FAMILY CENTRE CONSULTATION 14/05/2020
SOCIAL CLUB CONSULTATION 14/05/2020
On the 14th of May I was able to listen in on the family centre groups consultation with Quitaysha Thompson. The following are some of the key points I took away from this consultation which were also relevant to the design of the culture centre: • Quitaysha favoured the used of earthy colours in the designs, the red of the hills, ochre, green and browns. • Movable seating rather than fixed seating allows you to adapt spaces to suit different purposes. • Having walls near the entry are undesirable, you want the entry to be clear, safe and approachable to members of the community. • The community favours the use of corrugated iron, they are ‘pretty happy with it’ • In reference to yarning circles Quitaysha stated that ‘having that space is very important for bringing people together’ • Quitaysha mentioned that should could picture having a rammed earth wall in the profile of the Karungkarni hill stating ‘I could see that as a feature wall... I think that would work well’
I was able to listen in on the Warnkurr Social Club groups consultation with Double. The following are some of they points I took away from this consultation which were also relevant to the design of the culture centre: • Double R likes the perforated steel sheets used in the bower projects • Trees such as River Gums having meaning, they remind him of growing up and traditional uses • Double R stated in reference to traditional skills and knowledge that ‘we don’t want that to be forgotten... Its good to keep it alive • He wants the building to express life before and after the Walk-Off, as well as Jinparrak, Gordy Creek and Dreamings • He also stated in relation to younger generations that ‘a lot of them don’t know... It’s all forgotten... If we can try and reinforce those stories in that way it will be there forever.
REFLECTION It was really interesting to hear Quitaysha;s thoughts on peoples designs. This was the first chance we had to hear from a Gurindji person so I think it was a valuable opportunity for us to be able to listen in. APPLICATION My design features a yarning circle which Quitaysha describes as ‘important for bringing people together. The spaces as well as the furniture are also flexible to suit changing needs such as for meetings, as mentioned by Quitaysha. Quitaysha’s liking of the idea of having a rammed earth wall in the profile of Karungkarni which suggests that she may also be ok with my designs which feature precast panels which reflect sites including Karungkarni and Ngima Gorge.
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Following the social club Double R spoke about the culture centre for a few minutes before having to leave. He stated that the culture centre should be a place to go and have a coffee and a yarn or to buy a painting. He stated it should have stories on structures that aren’t locked up REFLECTION It was really interesting to hear Double R’s thoughts on the social club and briefly on the cultural centre. It was a pity however that we did not have another chance to speak with his as I think hearing a Gurindji person’s thoughts on the culture centre and what it should represent/include would have really benefited our designs. APPLICATION The quotes from Double R listed above have been key driving factors for my design and I go into further detail on these statements by Double R and how they have impacted my design later in this booklet.
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PROJECT OUTLINE The following pages will show my designs for the Kalkaringi cultural centre, beginning with the development of the brief, concepts and designs and finishing with what guided and informed my final designs. The intention of my design is to create a place where people can express their pride in their art, culture and in their history. The culture centre will serve many purposes and be used in many ways including producing and selling art, ceremonial purposes, dances, production of objects such as coolamons, and hosting meetings and consultations. It will celebrate the story of the wave Hill Walk-Off and share in the cultural knowledge of the Gurindji people so that their stories and cultural practices are kept alive for future generations.
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BRIEF DEVELOPMENT The brief for the project is the most complex brief I have had to work with in any project. This is mostly due to the uncertainties surrounding the required spaces, there is no set brief and the brief has been changing and developing throughout the semester. What I have found most challenging about the brief is that around three quarters of the spaces listed in the brief are geared towards visitors, however the focus of the project is more on creating a space for the community. Managing these two differing audiences has been a great challenge throughout the semester. The diagram I have drawn on the left is my early understanding of the spatial requirements for the design. In this image I had separated mens and womens working spaces as well as providing distinct bush medicine and bush tucker gardens. However, upon further reflection and discussion we decided that it was better to create a variety of working spaces not specifically for any sex but to allow groups to form naturally as artists work in an environment of their choosing, whether that be an enclosed space or outdoors. This also speaks to my experiences of visiting the Karungkarni Art Centre, where the artists can be seen dispersed through the indoor and outdoor areas. We also decided that rather than having specific areas for bush tucker and bush medicine plants, they would be better to be dispersed throughout the site.
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CONCEPT DEVELOPMENT
VISITORS
GURINDJI
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From the beginning of the project I have been interested in how people engage with the proposed buildings. My initial concepts looked at peoples movement through the site. The first diagram shows the how visitors would engage with site. I suspect their engagement would mostly be with the internal spaces; the reception/merchandise building, the historical exhibitions and the art gallery. The may also be some interactions with the artists and the landscaping as the visitors traverse between buildings.
I then furthered these notions of movement, looking at how architecture can be used to impact peoples interactions with spaces. Looking at ways architecture can speed up and slow down peoples progression through spaces and creating opportunities for moments of movement and moments of rest.
The second diagram, on the other hand looks at the Gurindji peoples’ experience of the buildings. I suspect that they would enter from west, coming from town and their use of the site would be mostly in the in-between spaces. They would occupy the heart of the site and therefore having a east-west connection between town and the social club as well as maintaining views from these spaces would be hugely beneficial. Community members would also use the artifact storage and viewing spaces therefore i think it is important that this be separated from the visitor spaces.
I also realised how important it would be for the building to tell the story of the Wave Hill Walk-Off. An important event in Australia’s history and a huge source of pride for the community. So I began to think about how different areas of the design could reflect the different stages of the Walk-Off, from leaving Jinparrak (old Wave Hill Station) to Wattie Creek. I will further discuss this later in the
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SPATIAL ARRANGEMENTS
My focus then shifted to how spaces could be arranged to have greater outcomes. From our consultations with Penny and Phil it was clear that a series of smaller buildings would be more appropriate for Kalkaringi as opposed to one larger building. Having various buildings creates more interesting spaces to occupy and offers greater opportunities. The shown diagrams explore the undefined in-between spaces that are created between the buildings, offering the gurindji people a variety of spaces; sunny, shady, open, enclosed, breezy, sheltered, private and public. Landscaping also comes into the equation, in terms of how spaces relate to the gardens.
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A major challenge of the design is balancing the competing agendas for a need for enclosed and open spaces. Precious artifacts, exhibitions and galleries need to be protected and enclosed to ensure they are not damaged by the elements, however the community also requires more open spaces for artists, for gatherings and for social interactions. Therefore a balance of enclosed, semi-enclosed and open spaces needs to be achieved in a way that the distinction between inside and outside in blurred. How people then use and move through these spaces is again drawn to my attention.
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EXPLORATIONS THROUGH MODELS I explored how these ideas of indoor and could play out through modeling. In our consultation with Lyndon he spoke of a successful Indigenous art centre in which the artists workshop spaces have garage roller doors so that the space can be fully opened up during the day to allow air circulation, creating a comfortable working space. I believe that having a similar space in Kalkaringi could be hugely beneficial. I explored way of doing this in model, having up swinging doors of perforated screening so that not only does the internal space become opened up, but the surrounding spaces become shaded. This design however may be problematic to construct due to its weight and the diverse issues surrounding having moving parts. As an alternative I thought that long slit windows could similarly allow the breeze, however, it would not have as a great an effect as roller doors.
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I also explored the idea of having a large table that projects from the indoors to the outdoors. This creates a variety of seating spaces to choose from and also means that a part of the table can be used by the community when the building is locked up, opening the space up for after hours use. I also explored the idea of having perforated screens, design by Gurindji artists fixed to the roof above the walkway to created a dappled light reminiscent of that created by a tree.
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MID SEMESTER PRESENTATION
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IN-BETWEEN SPACES
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ENCLOSED, SEMI-ENCLOSED AND SHADED SPACES
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PRESENTATION FEEDBACK & REFLECTIONS The following will outline the feedback I received for my mid semester presentation and how I have since addressed these aspects: • The question was raised as to how the buildings go into the landscape. At this point my designs didn’t have a strong enough connection to the landscape. They were confined to a small area, which I now see is unnecessary given the large site. I have since rearranged the building so that they merge into the landscape and form connections with the town of Kalkaringi. I have also since researched into native plants that I think could grow successfully on the site including bush tea leaf plants (lampalamparr), cockroach bushes (karnpirrkarnpirr), bush tomato, spear grass and bush onion. Having these elements in the design as well as the precast concrete walls which reflect surrounding landscapes help to connect the building to its context. • Nikki liked how I had considered dust in the design, due to the impacts it has on children as researched by the Fred Hollows Foundation. My final design retains the use of small pebbles from the hill near Mount Possum scattered through the landscaping of the site and on the footpaths to reduce the disruption of the top soil. • The suggestion was made to replace bi-folding screens with top hung sliding screens. I have since decided to use standard size garage roller doors which whilst not as aesthetically pleasing, it achieves all the practical requirements and spatial requirements such as lockability, robustness and allowing the space to be fully opened up by the artists. • It was also suggested that there was not enough sheltered outdoor space. As previously mentioned balancing inside and outdoor spaces has been a great challenge throughout the semester. However, I feel that my design addresses this by only fulling enclosing spaces which are required to be closed off due to the precious and historical items contained within them. All other spaces have been opened up, providing a series of sheltered, open, semi-sheltered spaces. I expect these spaces will become the main occupiable spaces by the community. • The last point raised was the idea to make parts of the design more impractical. I have since position river rocks from Wattie Creek along the journey through the site to reflect the perilous journey from Jinparrak.
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During each presentation I attempted to sketch each person’s concept. This was an interesting exercise and I found that some concepts where stronger and more clear than others. I think that Belle’s, mine and Leif’s concept were perhaps the stronger ones.
LEXI
CALEB
MYSELF
SHALINI
HERME
SARAH
BRONTE
ANNABELLE
DAMIEN
GABY
LEIF
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DESIGN DEVELOPMENT Following the mid semester presentations my two main goals were to enhance the connection of the buildings to site and the gurindji story and to open it up to create spaces which were closed. This resulted in a total redesign of the buildings as well as further development of how the concept relates to the design. I started to think about how different elements from the surrounding landscapes such as Karungkarni, Wattie Creek, Jinparrak and Ngima Gorge could be brought into the site, including river rocks, pebbles, custom precast concrete panels and landscaping. I also realised I needed to more strongly emphasize the Wave-Hill Walk-Off story in my design. I developed this by revisiting my research of the Walk-Off which I completed last year, as well as researching more deeply into the journey from Jinparrak to Wattie Creek. I then extracted the different stages of the Walk-Off and have tried to create elements from each camp and point on the journey into the design into distinct locations in my project. These elements can then be used as by the Gurindji as a way of sharing the story of the Walk-off to younger generations and visitors.
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I decided that in order to overcome the issue of not having enough outdoor spaces and having the them too distinct from the indoor spaces could only be achieved through a total redesigning of the floor plan. I reduced the number of buildings and spread them further out into the site, moving away from the corner that I had unnecessarily tucked the building into. The new buildings are positioned along two axes to create a variety of different indoor and outdoor spaces with differing aspects. My previous design seemed to have more tourists spaces than spaces for the community so I reduced the brief to create a greater emphasis on community spaces. I also moved the gallery away from the artists so that they feel as if they have a greater ownership of and connection to the cultural centre. I moved the private artefact space away from the main two buildings as lockup is not an issue as it is not a building that would be opened every day. I have redesigned all three buildings with attached outdoor spaces that relate to the indoor program to blur the distinction between indoor and outdoor. The artist workshops spaces are varied to account for variations in weather and any cultural requirements, with over 180 degree views of the landscape to draw inspiration from. Creating all these permeable spaces allows the culture centre to continue to function even if the buildings are locked.
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I returned to model making to try and experiment with what these open spaces might look like. However, I decided that these spaces were to open to provide practical use.
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SITE ANALYSIS The selected site is on the corner of Daguragu Road and the Buntine Highway. The main vehicular access will be from the Buntine Highway. This is a site that has been selected over years of consultation with the site. There are many positive attributes of the site beginning with location which speaks to both the Kalkaringi and Daguragu communities. As some artists currently travel from Daguragu to paint in the art centre it is also important that the design is as welcoming for them as for those residing in Kalkaringi. The cultural centre will also tell the story of the Wave Hill Walk-Off, a story which also belongs to the Daguragu community. There are no buildings immediately surrounding the site, which means its views towards the Karungkarni and other hills to the south are uninterrupted. The building locations make the most of these views. The site itself is almost completely flat, and is located above the inundation line and is therfore at low risk of flooding. The site is on the direct path from the store, art centre and future community centre to the social club, therefore the design takes into consideration the movement of people through the site, by providing direct routes through the site alongside the meandering routes. There is a prevailing south-westerly wind, which has informed the siting and orientation of buildings as the cool breeze it affords in the wet season makes a large difference to comfortability. Surrounding Kalkaringi are a number of culturally and historically significant sites which I have highlighted in my site analysis. It is important that the design speaks to these sites.
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CONCEPT 7
My concept diagram is an abstraction of the journey of the walk off from Jinparrak station to Wattie Creek. This concept also speaks to the site of the culture centre and peoples interactions with it:
5 6 4
3 1
2
Connection to the Wave-Hill Walk Off:
Connection to the cultural centre:
Jinparrak (Wave Hill Station), following the fenceline through the spinefex and Mitchell grass.
Mitchell grass reflects the walk along the fenceline.
1 Lead by Vincent Lingiari, the Gurindji left 1 The long and bare walkway populated with spinefex and they faced
2 They walked through the plains in fear of 3 The sheltered design reflects the feelings of safety offered being seen and shot by the station owners. by the shelter of Gordy Creek, the dense plantations reflect the 3 They crossed the Wave Hill escarpment nourishment and the cracked paves represent the dry river bed. then stopped at Junani (Gordy Creek 4 The program reflects the meeting place and activity, and Waterhole) and dug for water. the river and shade of the camp are hinted at thorought the 4 They continued onto Libanangu (Victoria perforations and architecture. River Camp) where their group of 250 5 The buildings reflect the shelter aginst the limestone of camped until the wet season Bottom Camp. 5 They then sought shelter under the 6 This represents points along the journey such as pavilions. limestone ridge of Bottom Camp and later continued on to Wattie Creek.
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2 Rocks obstruct the pathways reflecting the risk and obstacles
7 This represents the direct route through the site to the social club.
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CONSULTATION-LEAD DESIGN Two statements by Double R (Rob Roy) have had a large impact in my overall goals for the project to both celebrate the story of the Wave Hill Walk-Off and to reinforce cultural knowledge and practices so that they aren’t forgotten. The first quote is from a video recorded by Bower Studio during a consultation in 2014. It speaks to how important it will be for the culture centre to celebrate the story of the Wave Hill Walk-Off as it is such a significant moment in history for not only Kalkaringi but for all of Australia. As such, a large part of my design focuses on telling the story of the Walk-Off. The second quote is from consultations Double R had with the Social Club group this year, which I listened in on. He was speaking about how a lot of dreamings, stories and cultural knowledge hasn’t been past on to younger generations as they spend more time on technology than on the land with relatives. He expressed his concern that cultural knowledge is being forgotten, but if stories are reinforced through architecture then they will be there forever and will be kept alive. My designs share the stories of the Gurindji, of the Walk-Off, Dreamings, bush tucker and bush medicine through the architecture. It also allows for the continuance of cultural practices such as corroboree, which now rarely occurs in the community outside of the Freedom Day Festival. As informed by these statements from Double R, telling the story of the Wave Hill Walk-Off and creating spaces which accommodate the transfer of cultural knowledge verbally, through practice and through architecture have become central to my designs.
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SUSTAINABILITY Sustainability is an important consideration for the design of the cultural centre, in terms of both environmental sustainability and cultural sustainability: A key aspect of achieving sustainability in this design is through minimising material wastage. This is achieved through using standard sized elements and through prefabrication. The perforated screens used around the art gallery building are all standard size 2400x1200mm panels to reduce wastage. The screens in the landscaping and the pavilions are exactly half this size, again for maximumefficiency. The buildings are constructed of precast concrete which will be transported to site by a semi trailer. Precast concrete is a sustainable material as it is environmentally friendly, resistant to the elements and termites, has thermal mass, it has a long lifespan and is a very robust material. Precast concrete, in addition to the steel framing of the roof and shaded spaces, all contribute to an on-site reduction in labour and construction period. It is therefore economically and environmentally friendly. Importantly, my design for the cultural centre also supports cultural sustainability. The key purpose of the project is for it to be used in by the community in a variety of ways including painting, ceremonial purposes, dances, production of objects such as coolamons or boomerangs, skill which are disappearing in the community. Having spaces where these activities can comfortably both occur and be taught to younger generations is integral, and my design features a variety of spaces to accommodate these varying activities. Secure storage of artefacts and artworks also helps in the preservation of culture. As Aboriginal culture is a traditionally oral culture, verbal communication plays a large role in the sustainability of cultural and ecological knowledge. To accommodate this the design includes a variety of seating and yarning spaces, as well as visual cues in the architecture and landscaping to act as pnemonics or to help describe the surrounding environment. My intention for the cultural centre is for it to become the central hub of the community, a space were cultural knowledge, is shared, taught and learned, and where cultural traditions are carried out.
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DESIGN JUSTIFICATION AR
CH IV
ES
7
IV
AT
E
1 The private artefact viewing space allows Gurindji people to interact with photography and recordings of people. It also allows senior men and women to interact with artefacts and pieces privately and is not accessible by outsiders.
8
PR
AR
TE
1 FA
CT
S
3
AUDIO-VISUAL ROOM & ARTEFACT VIEWING SPACE
2 Phil and Penny expressed a preference towards decentralised plans, an opinion which I share with them. Thus the design is a series of building, each serving different community-related functions.
3 Having separate buildings means that men and women can occupy discrete spaces for certain activities such as coolamon carving (Ormond-Parker).
YARNING CIRCLE
CORROBOREE SPACE
ART GALLERY
4 A lockable carpark for the art centre troopy is provided in close proximity to the office and art spaces for
TEMPORARY ART COLLECTION
security, ease of access and transporting supplies.
STAGE & PROJECTOR SCREEN
5 Often children will accompany their artist grandparents to the art centre, I have therefore designed a small
2
4 OFFICE
F
D
6
play space for the children to play in and be observed by their grandparents.
6 Mens and womens toilets are on opposite sides of the building for cultural reasons. The disabled toilets is
KITCHENETTE
position internally for ramp access.
MERCHANDISE EXHIBITION
M
ART SUPPLIES & STORAGE
7 The artefact building is physically distanced from the other buildings to offer privacy and its location and
ARTIST SINKS
5
thick appearing walls also hint to its precious and secure contents
8 Community painted walls are located both on and off the site to display the amazing art produced by the
ARTISTS' WORKSHOP
artists
CHILDRENS' PLAY SPACE
0 GSEducationalVersion
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0
1000 2000
1000 2000
5000mm 5000mm
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DESIGN JUSTIFICATION 1 2
3
6 5
1 Corrugated iron roofing has been used not only for its cost effectiveness but it also references to the remains of the huts which we saw in 2019 at Jinparrak. This site is a source of pride for the community and the material is familiar and has positive connotations.
2 The gallery spaces are multi-functional with all displays as stand-alone, moveable displays which can be moved out of the way for hosting large meetings and can be moved outside for the freedom day festival.
3 Windows are raised so that the eaves provide maximum shading. The window panes are acrylic for robustness.
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4
4 According to Phil many Gurindji people love music and dance, and including a corroboree space would
be an ‘asset to the community’. The corroboree space provides a location for this to happen and support the cultural traditions of the community. This would be particularly useful for dances for the Freedom Day Festival in Kalkaringi. It can also function as a large outdoor multipurpose space.
5 The wall segment behind the stage creates some privacy to people getting changed when dancing. 6 This wall also is used as a projector screen. The corroboree space also doubles an outdoor cinema which can be used for both educational and entertainment purposes.
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DESIGN JUSTIFICATION 1 The cultural centre is approached from the side to reflect Aboriginal movement patterns. This resonates with my experiences in Kalkaringi and our cultural training which suggests against directly approaching spaces. A side and elongated approach gives people time to notice the approaching arrival of other persons.
2 The external walls for the project are precast concrete which will be transported to site by a semi trailer
2 4
5
and lifted into position by crane. Precast concrete is termite, flood, rain and wind resistant, it is a very robust material. It is also thermally efficient, low maintenance and fully customisable. The concrete panels will have a red earthy-tinge to them to blend in with the environment and soften their appearance, a quality both Penny and Leah have expressed an interest in both through consultation and our visit to Kalkaringi in February.
3 To address complexities surrounding avoidance relationships (Wigley & Wiggly, 2003) the design features a
3
variety of spaces so that those in avoidance relationships can occupy separate spaces comfortably and avoid physical and visual contact.
4 The shaded workshop spaces and other external social gathering spaces have views towards the town of
Kalkaringi so the people can see who is approaching, which also helps in navigating avoidance relationships or what Double R calls poison cousins.
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as on bush tucker and bush medicine plants, which are located in the landscaping. They also will provide other information such as dreamings, however this requires community consultation to decide exactly what dreamings may be allowed to be shared.
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DESIGN JUSTIFICATION 1 A sloped corrugated iron, gutter-free roof is used to help cope with heavy wet season rainfalls. The ground beneath the sloped roof is more heavily landscaped to benefit from the water.
2 Four custom built molds for precast concrete panels will draw in landscapes of Ngima Gorge, Wave Hill,
2
Wattie Creek and Karungkarni. These can then be reference by Gurindji people such as Yamba when story telling or when guiding tourists.
3 When walking through Kalkaringi during the day I often saw people gathering in groups under the shade of 3
a tree or in the limited seating near the caravan park and Karungkarni Arts Centre. By including a number and variety of seating spaces surrounding the cultural centre hopefully over time these will become the preferred meeting places in town.
1
6
4 The site is planted with native plants including bush tea leaf plants (lampalamparr), cockroach bushes
5
4
(karnpirrkarnpirr), bush tomato, spear grass and bush onion. By planting bush medicine and bush tucker plants the plants act as education tool and also provide for the continuance of cultural practices.
5 As mentioned by Penny, artists are also stimulated by interactions with the plants. Bush tomato are plant
that is not associated with any particular family group and can therefore be painted by anyone and as a result it is commonly featured in paintings.
6 I have notice when in Kalkaringi that people often show a preference to sitting on low seating. My design for the furniture includes a lower concrete seating option 250mm high as well as a higher seating option at 450mm. The higher seat uses timber slabs from outside of Darwin. As the timber is raised off the ground by equal angles, they should be safe from termites.
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DESIGN JUSTIFICATION 1 Memmott recounts a tendency amongst Aboriginal people to maintain constant surveillance of the natural 4
2
1
and social environment that surrounds this. This aligns with my observations of people in Kalkaringi and the remarkable ability of people to know where others are. I have therefore positioned the buildings in such ways that they have minimal disruption upon lines of site. Outdoor spaces are strategically located to maximise views of people coming and going.
2 The buildings and perforated screens are angled to frame the views of the surrounding notably
Karungkarni and the surrounding hills. The landscape is a major source of inspiration for the artists in Kalkaringi and therefore positioning them seemingly amongst this nature creates a beautiful environment for the artists to paint in.
5
3 According to Penny, both male and female artists like to paint on the floor. A variety of breezy, shaded,
concreted spaces are provided for the wet season and sunny and more sheltered spaces for the dry season.
4 The perforated screens allow breezes from the south-east to cool the artists, and also provide some
protection against strong winds. The screens are made of a laser cut sheet metal, and framed by 65 EA 8 equal angles in reference to the bed frames at Jinparrak. The screens depicted here are replications of artworks at the Karungkarni Art Centre. If these were to be made they would need to be designed by the community members. This would also have the benefit of giving the community members a sense of ownership over the building and creating a sense of comfortability and pride.
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5 As this is an open space it can be used by the community after hours for gatherings or meetings.
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1
DESIGN JUSTIFICATION 1 The soft shadows created by the perforated screens, which are reminiscent of the dappled light created
2
by trees, help to soften the building and blur the distinction between the built and natural environment of the building. This softness is an attribute which Leah and Penny have expressed a desire.
3
2 Lyndon Ormond-Parker has had extensive experience with art/culture centres and spoke to us of the
importance of having large undercover, ventilated spaces. According to Lyndon ‘ceiling fans are a must’ and have been including in buildings and the shaded areas attached to the buildings.
4
3 The roller doors allow the space to be securely locked up outside opening hours, however during the
day the space can be fully opened or partially opened by the users of the space to accommodate changes in weather. This space gives the users full control over the spaces they occupy to maximise comfort.
4 The screens to the side of the roller doors again allow the space to be locked up, but also allow the fresh 5
air and light to enter the space if the roller doors are pulled shut on a windy day. It also provides a degree of separation between the two ends of the table so that the table can be occupied by multiple groups of people.
5 The pathway cuts through the two buildings providing an entrance point to the site, and means that those traveling through to the club can continue through without disturbing the users of the space.
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DESIGN JUSTIFICATION 1 From viewing various videos produced the Karungkarni Arts and Culture Centre a lot of activities such as
bush tea and hair string making occur at ground level. The design includes slabs and appealing spaces to sit on the ground in the shade of trees or underneath roofs. Having spaces such as these is important in passing on knowledge and respecting traditions.
2 Yarning is a hugely important activity in Indigenous culture, a traditionally oral culture (Yunkaporta, 2019). It plays a major role in the transfer of knowledge and in strengthening connections. The yarning circle provides an opportunity for small to larger groups of people to gather and share in the transfer of cultural knowledge. According to Quitaysha, yarning circles are ‘very important for bringing people together.’
4
3 Dillon and Savage (2003) outline the various issues associated with dust. My design attempts to reduce the disruption of the ground by covering paths with the small red ball-bearing-like pebbles of the hill near Mount Possum.
2 1
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3 There are three smaller shade pavilions on the site (one is also located and the school) which provide 3
shaded spaces for the community and also display, on perforated screens, information about the community so that even if the buildings are closed tourists and community members can learn about the Gurindji culture and its history. The pavilion shown in this image shares the story of the Wave Hill Walk-Off.
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BLACK STEEL UNIVERSAL BEAM 310 UB 32 TOP PLATE
STANDARD 1200 x 2400 PERFORATED STEEL SCREEN
BLACK STEEL EQUAL ANGLE FRAME 65 EA 8
WELDED CONNECTION
BACK-TO-BACK WELDED BLACK STEEL EQUAL ANGLES 150 EA 16
BASE PLATE
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REFERENCES Charola, E., (editor.) & Meakins, F., (editor.) & Australian Institute of Aboriginal and Torres Strait Islander Studies, (issuing body) (2016). Yijarni : true stories from Gurindji country. Aboriginal Studies Press, Canberra, Australian Capital Territory.
Meakins, F. (Producer). (2008). Wirriji (Hair String) [video]. Available from https://ictv.com.au/video/item/5016. Meakins, F. (Producer). (2011). Kurraj (Rainbow Serpent) [video]. Available from https://ictv.com.au/video/item/5009.
De Heer, R. & Djigirr, P. (Directors). (2006). Ten Canoes [2006]. Australia: Palace Films and Cinemas.
National Heritage List, 2006. Wave Hill Walk-Off Route. Retrieved from https://www.environment.gov.au/system/ filespages/4e91b850-da8a-48c3-b797-fd25ae1e5d32/files/wave-hill.pdf.
De Heer, R. (Director). (2002). The Tracker [Motion Picture]. Australia: Madman Entertainment. Fantin S. (2003). Aboriginal identities in architecture. Retrieved from https://architectureau.com/articles/aboriginal-identitiesin-architecture/.
Findley, L. (2005). Building Visibility: Uluru Kata Tjuta Cultural Centre. In Building Change : Architecture, Politics and Cultural Agency (pp. 79-121). London, Routledge.
Noble, K., Dennis, T., & Larkins, S. (2019). Agriculture and resilience in Australia’s North : a lived experience. Springer, Singapore.
Gordon, D. [Director]. (2019). The Australian Dream [Motion Picture]. Australia: Good Thing Productions Company Pty Ltd. Kennedy, R. & Kelly, M. (2017) The Australian indigenous design charter: communication design. The development of a guide for respectful professional practice, Communication Design, 5:1-2, 224-239, DOI: 10.1080/20557132.2017.1385253.
Pardoe, C. & Hutton, D. (2020). Aboriginal heritage as ecological proxy in south-eastern Australia: A Barapa wetland case study. Australasian Journal of Environmental Management. Retrieved from https://www.researchgate.net/publication/ 338688722_Aboriginal_heritage_as_ecological_proxy_in_south-eastern_Australia_A_Barapa_wetland_case_study. Pascoe, B. (2014). Dark emu : black seeds : agriculture or accident?. Broome, Western Australia: Magabala Books.
Mallie, T. (2009). Questioning” Authentic” Aboriginal Architecture: An analysis of recent cultural centre designs. (Thesis). University of Newcastle, Newcastle, Australia.
Pieris, A. (2016). Indigenous Cultural Centres and Musems: An illustrated International Survey. Lanham, Maryland: Rowman & Littlefield.
McGaw, J. & Pieris, A. (2015). Assembling the Centre: Architecture for Indigenous Cultures: Australia and Beyond. Abingdon, Oxon: Routledge.
Ward, C. R. (2016). A handful of sand: the Gurindji struggle, after the walk-off. Clayton, Victoria: Monash University Publishing.
Meakins, F. (Producer). (2008). Gurindji Bush Medicine [video]. Available from https://ictv.com.au/video/item/5010.
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P. Smith, personal communication, May, 14, 2020.
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